A Quote by Billy Crudup

Interest in certain themes doesn't mandate a personal stake or personal experience of those themes. I've killed people in plays, but no one asks me what it's like to kill people.
If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.
We learnt a lot because we got in with real choreographers who tell you what they need from a song, because a song has to advance the story. Then real directors like Mike Nichols tell you where you can have 'B themes' and 'C themes', and we go oh yes, B themes and C themes! So we were taught in the finest school amongst the finest people. And also by the school of experience.
[Robert] Ford had the idea that through fame he would receive some personal validity, but he didn't. I feel that these are not the main themes, but certainly themes that are at play in this film [Assassination of Jesse James].
What I write is very personal, but not autobiographical. It's more 'thematically personal' - what's up in my life in terms of themes at the moment.
While many of my musicals deal with big themes and ideas, I don't intentionally go looking to write shows like that. A story will interest me, and then somewhere along the way, I discover that hidden inside are these epic themes.
My movies are painfully personal, but I'm never trying to let you know how personal they are. It's my job to make it be personal, and also to disguise that so only I or the people who know me know how personal it is. 'Kill Bill' is a very personal movie.
There are themes that somehow stir me and that I find very interesting. They're themes that deal with leadership, the nature of bravery and courage, and how to define those.
If we are willing to act violently in pursuit of a peripheral interest, everyone can be certain that, when a vital interest is at stake, we will be still more violent. 'Credibility' is defined as the willingness to kill a lot of people now for a not very good cause to assure the world that we'll kill a lot more people if we can find a better one.
I never really approach any project or story thinking of themes first or what a certain character 'represents.' Maybe other writers do, but for me, it just starts with the characters and a certain emotion I want to convey. It usually isn't until I get deeper into a book and look back a bit that I start to see the themes, etc.
I don't want to deal with big, grand themes in my stories; art has nothing to do with themes. When you deal with themes, you are not creating; you are lecturing.
You never make all things for all people and can't always pander to the broadest denominator. I keep an eye toward doing the themes that interest me. Do they move me? Interest me? Make me think? When I run across something that is provocative in an unsettling way, it appeals to me.
What I think of as 'freakonomics' is mostly storytelling around an idea - not a theme but an idea. I like ideas much more than themes. Themes are boring. Themes are, 'Wool is back,' but ideas are, 'Why is wool back?'
I'm always thinking about the next record. I've got like 20 different themes and then I'll scratch the themes. It's a learning process.
Though 'Fire and Rain' is very personal, for other people it resonates as a sort of commonly held experience... And that's what happens with me. I write things for personal reasons, and then in some cases it... can be a shared experience.
One of the many, many things I hate about war is how it trivializes the personal. The big themes, the broad sweep, the emergency measures, the national identity, all the things that a particular kind of man with a particular kind of power urge adores, these are the things that become important. War gives the lie to the personal, drowns it in meetings, alarms, sacrifices. The personal is only allowed to return as death.
I'd say the biggest relationship is the repetition of certain themes. I don't want to say "topics," but certain points of interest.
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