A Quote by Stephen Lang
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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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 think comedy and satire are the strongest ways to deal with very serious themes and very painful themes.
You can get anything from Mozilla Firefox-based themes to nature themes to your own photographs.
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.
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.
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.
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.
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 find a very guilty pleasure in dark themes and vibes, and finding where the transcending nature of awareness meets this darkness.
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.
'The 5th Wave' is sci-fi, but I tried very hard to ground the story in very human terms and in those universal themes that transcend genre. How do we define ourselves? What, exactly, does it mean to be human? What remains after everything we trust, everything we believe in and rely upon, has been stripped away?
I adore themes of hope and courage and the ways we find meaning through suffering.
Art is built on the deepest themes of human meaning: good and evil, beauty and ugliness, life and death, love and hate. No other story has incarnated those themes more than the story of Jesus.
I like to put my characters through a lot, so, in 'Talon,' my fans will find familiar themes of bravery and sacrifice, and what it means to be human... even if you're not human.
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.
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?'
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