A Quote by Maggie Rogers
I think so many of the themes from the natural world mimic emotional themes in our lives.
Related Quotes
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.
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.
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?'
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 think comedy and satire are the strongest ways to deal with very serious themes and very painful themes.
I'm not sure if it's easier to address tough themes through humor, but I do think it's more fun and makes such themes easier to digest for the reader.
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.
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.
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.
You can get anything from Mozilla Firefox-based themes to nature themes to your own photographs.
Both sex and death are eternal themes. You could make thousands of movies on this theme, and whether you have a human being who is painting, singing, making a film, writing, these are the themes that you will come back to and return to. If you don't have any of these artistic expressions, sex is one of the only gifts that nature gave you for free, so it is very important to celebrate it. And then, with death, we are condemned to that. This is absolutely present in our lives.
I don't really do themes. I might accidentally, but themes are an emergent phenomena of the writing of the book, of just trying to get a story out there.
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.
I find I can't get rid of my trashiness as an artist. A lot of my themes in painting, to the extent that there are intentional themes, are meant to bring that conundrum into high relief.
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.
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