A Quote by Cecelia Ahern

Love is not a theme. It's an atmosphere, a mood. — © Cecelia Ahern
Love is not a theme. It's an atmosphere, a mood.
What has mood to do with it? You fight when the necessity arises—no matter the mood! Mood's a thing for cattle or making love or playing the baliset. It's not for fighting.
When I go on the set, I'm so rushed. When I see the actors at rehearsal, when I love it, I want to keep the mood - my mood and the actors' mood also. So I have to push the crew faster. I don't want to lose the mood.
Politics becomes a part of a writer's working life. The writer's protagonists are born in the context of the feelings that this atmosphere evokes. How can writers separate themselves from these feelings and create protagonists that come from Mars? Even writers who only write about psychological or internal issues or about love are writing under their prevailing atmosphere, and their writings will take on the hue of the time, place, and mood of their environment.
I have an instinct for finding the odd location, the dismissed face, the eerie atmosphere, the oppressed mood.
In Romanticism, the main determinant is the mood, the atmosphere. And in that regard, you could also describe Schubert as a Romantic.
Type is saying things to us all the time. Typefaces express a mood, an atmosphere. They give words a certain coloring.
So this is supposed to be about the how, and when, and why, and what of reading -- about the way that, when reading is going well, one book leads to another and to another, a paper trail of theme and meaning; and how, when it's going badly, when books don't stick or take, when your mood and the mood of the book are fighting like cats, you'd rather do anything but attempt the next paragraph, or reread the last one for the tenth time.
In all the background scores I do, I take care to see that the theme enriches the storyline and does not deviate from the mood of the scenes, context, characters and the entire movie.
Typically, the theme of my albums, if there is a theme, is, 'How does it feel?' And that always leads to love songs. It just does.
I found this really fantastic used record store in Japan, and I bought all these different records and different 45s, and one of the 45s was just, it had the theme, "Green Leaves of Summer," the theme to "The Alamo" on one side, and then on the flip side was a theme to, the theme to "The Magnificent Seven."
In writing a weird story, I always try very carefully to achieve the right mood and atmosphere and place the emphasis where it belongs.
When you work on animation, the music has a great task: to create a sound and melodies and mood and atmosphere and energy dedicated to these extraordinary characters.
When you write songs, you can't really point out the exact thing you're inspired by. It's more a state or a mood or an atmosphere that you're trying to put into words.
When I work on a movie, I look at the script or watch the film, and I talk to my director or producers and make a plan: this is our main character; we need a theme for this plot. We need a love theme.
I'm sure you have a theme: the theme of your life. You can embellish it or desecrate it, but it's your theme, and as long as you follow it, you will experience harmony and peace of mind.
I don't always know what's going to go on in terms of the mood of the story. Sometimes I start with the mood, but sometimes I just try to work toward discovering it. But I do think often there's a mood or unsettling quality, in which the reality of the world seems to be taken away, that I really love, and it's something that I almost always unconsciously move toward.
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