Top 71 Subtext Quotes & Sayings - Page 2

We had an ancient Russian acting coach at my drama school who said the worst offense you could commit was to let your subtext show. That is the point of acting, is to be saying one thing and not be allowed by society or your predicament to show what you're really feeling. In a way, I think that's why the therapy generation has killed script writing, because all you ever get is people going, "Hi, I'm feeling really angry right now."

Sometimes, even when I'm writing the lyrics, I'm not sure what I'm getting at, but then months will pass and I'll listen to it and I'll understand it completely. I think I trust myself in that most of what comes out of me will be honest. Even if it seems like it doesn't make a lot of sense, I realize that it does. It's hard to follow, and maybe there's a lot of subtext to it that nobody knows, so it makes it impossible to follow.

The brand is lying about something, or at least misrepresenting it. When I read a bottle of shampoo or moisturizer or other beauty product, I always perceive a dark subtext. The words haunt me. It comes across as humorous to the reader/audience, but in fact the words really do make me a little bit queasy. Nothing is as easy or natural as consumer brands want us to think - no problem is as resolvable. Your hair will fall out, eventually. Yet we do have these brands, and we line our shelves with them. There's an inherent irony.

He'd only been gone two seconds, but the room got brighter when they were together, as if they were two elements that became brilliant in proximity. At Sam's clumsy efforts to carry the vacuum, Grace smiled a new smile that I thought only he ever got, and he shot her a withering look full of the sort of subtext you could only get from a lot of conversations whispered after dark. It made me think of Isabel, back at her house. We didn't have what Sam and Grace had. We weren't even close to having it. I didn't think what we had could get to this, even if you gave it a thousand years.

I love thinking about things subtextually and I actually - like for instance when I write, I actually, I'm not very analytical about it. I don't ever deal with the subtext because I just know it's there so I don't have to deal with it. I just keep it about the scenario. I keep it on the surface, on my concerns. And one of the fun things is is when I'm done with everything, like now, for instance.

It starts with the writing. We have to think of all these characters - we have to treat them all equally. We have to think of them as having an interior life and having motivations. When I'm drawing female characters, I'm looking for that. I'm looking for subtext. I'm looking for ways to make the reader relate to them in a way that goes beyond the pure aesthetic value. You know, just drawing an attractive woman really gets kind of boring after a while.

It's always been a subtext of our secular optimism that you solve the economic problem, and all other things sort of take care of themselves. Well, we seem to be doing well on the economic side - we are doing very well - and the other things are not solving - they're compounding.

I started with wanting to think about witches, about strong women who have special powers - who are often misunderstood. Then I found some beautiful blue fabric, so I made Blue Witches. My creative process is always like that. Organic, text, theme, subtext, each day evolving and trying to make strong, beautiful clothes. It's that simple.

I moved to leave, and Dylan actually grabbed my shoulders. I was so surprised that i forgot to karate-chop his elbows and break his arms.' “I don’t want anything to happen to you,” he said urgently. “What you want does not matter here,” I said slowly and carefully. I hoped Dylan was sensitive enough to read between the lines, to the subtext of: Let go of me or I’ll kill you.

I've always been terrified of violence which is probably why I keep making violent films - I'm trying to exorcise some demons or something. My mum ended up bringing me up on the edge of a big estate in south London, so I was on the periphery of violence - a lot of football violence and stuff because I was a Millwall supporter. So I've always had a very healthy fear of it, yet at the same time a fascination. I think in all of my films that's a really strong subtext... people who are terrified by violence but are yet compelled by it as well.

The foreign audiences are somewhat surprised and happy to find an American film that asks questions about American culture. There's a certain kind of cultural imperialism that we practice. Our films penetrate every market in the world. I have seen and have had people reflect to me, maybe not in so many words or specifically, but I get the subtext of it - they're somewhat charmed and surprised and happy to see an American film reflect on our culture. Because they see other cultures reflect on our culture but they don't see US culture reflecting on itself in quite the same way.