A Quote by Hideaki Itsuno
You know how we always said 'Devil May Cry 5''s themes were about photorealism and the uncanny valley? That was a lie. The real themes centered around setbacks and awakenings.
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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.
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.
Of course, we talked about Westerns we like with [James Ransone in Valley of Violence] , but it was always thematically in relation to the movie and what the themes of the movie were.
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 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.
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.
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.
I'd already made the decision before I'd even read it-just because it was John Sayles. Then when I read it, the themes were actually themes that have been a big part of my life.
Any underrepresented audience loves to see themselves on TV, but what's more important is that we're writing about universal themes - good versus evil, can you change yourself? These themes resonate for everyone.
I wasn't into Tolkien at school really. But the story is timeless, the themes that it touches on are contained in cultures all around the world. The innocent on a quest, the pretender, an inanimate object that holds evil - it's really strange that these themes are there in so many different countries' folklore.
I wrote the poems in Charms Against Lightning one by one, over almost a decade, and I did not write them toward any theme or narrative. But once I really got serious about putting together a book, I began to see that in fact there were themes across the poems, if only because my own obsessions had brought me back time and again to the same ground. I realized that any ordering of the poems would determine how those themes developed over the manuscript, and how the collection's dramatic conflicts were resolved.
Introduce your main characters and themes in the first third of your novel. If you are writing a plot-driven genre novel make sure all your major themes/plot elements are introduced in the first third, which you can call the introduction. Develop your themes and characters in your second third, the development. Resolve your themes, mysteries and so on in the final third, the resolution.
The problem with themes is that writers don't realise they are themes until someone points them out.
I think so many of the themes from the natural world mimic emotional themes in our lives.
You can get anything from Mozilla Firefox-based themes to nature themes to your own photographs.
The themes that make one laugh always stem from poverty, hunger, misery, old age, sickness, and death. These are the themes that make Italians laugh, anyway.
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