A Quote by Roisin Murphy

There's a great deal of tension between so many kind of distinctive and restrictive female archetypes and images in the world. When you play with the archetypes, you get free.
Thrillers rely on certain archetypes and our familiarity with them is quietly driving all of the tension. So it becomes an interesting challenge from the score perspective, to enhance that tension without being noticed, just like those archetypes.
If you know your archetypes - and not just yours, if you know how to perceive the world in archetypes, through archetypes - everything changes. Everything. Because you have two things: you can see through one eye which is impersonal, and through the other, which is personal. That's the way the game is written down here.
I'm quite drawn to women artists who use themselves in their work. There is a very feminine point of view, the use of female archetypes. I love artists who play with those kind of things genuinely.
The first half [of Valley of Violence] was to endear you to all these people and give you all these archetypes that you're familiar with, and then the second half, just to see all those archetypes unravel like real people.
The librarian, the warrior, the free spirit... archetypes are a great jumping off point to help clarify where we want to go with a character.
Comics deal with fundamental archetypes. We've been called the myth-makers of the modern age.
Colour, Figure, Motion, Extension and the like, considered only so many Sensations in the Mind, are perfectly known, there being nothing in them which is not perceived. But if they are looked on as notes or Images, referred to Things or Archetypes existing without the Mind, then are we involved all in Scepticism.
There are as many archetypes as there are typical situations in life. Endless repetition has engraved these experiences into our psychic constitution, not in the forms of images filled with content, but at first only as forms without content, representing merely the possibility of a certain type of perception and action.
I just watched so many Westerns as a kid that you end up using archetypes and sort of tropes of that genre, because there's a language there and you can twist it and turn it on its head or play to it or go sideways at any time.
You have to carry so many archetypes as an actor, especially as a blonde-haired, blue-eyed one.
Women are not in control of their bodies; nature is. Ancient mythology, with its sinister archetypes of vampire and Gorgon, is more accurate than feminism about the power and terror of female sexuality.
My characters are all kind of geek archetypes of people I've encountered at gaming and comic book conventions.
By using the systems archetypes we can learn how to “structure” the details into a coherent picture of the forces at play.
The collective unconscious consists of the sum of the instincts and their correlates, the archetypes. Just as everybody possesses instincts, so he also possesses a stock of archetypal images.
When I do only images, people don't connect with the images because the images are too weird to understand. But when I explain the weird images with straight words, then all of a sudden there is a tension between the two that the audience wants to see.
Jung said there are four archetypes adults go through, and these archetypes are reflected in the development of my work. The first archetype is the archetype of the athlete, reflecting the time in our adult life when our primary emphasis is on our body - what it looks like, how beautiful it is, how strong it is, and so on. We identify ourselves with our body. We are our body. Growing adults next move to what Jung called the archetype of the warrior. We take our physical bodies out there to do what warriors do.
This site uses cookies to ensure you get the best experience. More info...
Got it!