Scott Snyder Quotes

I don't have any specific plans to return to the 'Age of the Five.' If I do, it won't be a sequel.

Every day, you have to make three hours of music, just randomly improvising, and that's a great way to weed stuff out.

I love my stories being multi-layered, and coming at it from different angles, so that you don't understand the film's true emotional motivation until the very end.

Until now, I've not done a project where the produce, rapper and singer has never worked together like this before, and I had a chance to try a variety of styles.

When I think of the artists I admire and seek out musically. It's because I'm curious about where they're going to go the next time they have a chance to put a record out. It's not about where I find them on the radio dial, or how many records they're selling.

My problem is that the audience is more fiction-literate than ever. In Shakespeare's day, you probably expected to see a play once or twice in your life; today you experience four or five different kinds of fiction every day. So staying ahead of the audience is impossible.

Louis Malle was the best filmmaker I've ever worked with. He was such an artist. He was dealing with the theme of innocence and experience.

Just the type of music that was around at the same time as I was writing. Some of it was wicked, definitely. But there was just one direction which I thought could be pushed that no one was pushing.

I might sing a gospel song in Arabic or do something in Hebrew. I want to mix it up and do it differently than one might imagine.

From as far back as I can remember, I always loved the King Arthur stories, fairy tales, mythology - things like that. So it was very natural for me when I came to write the 'Prydain' books to sort of follow that direction.

The privilege I've had over 15 movies over a very long time has been to make movies that were ambitious or grown-up, complex, that had themes in them that were sometimes political, sometimes challenging, to make these movies on a scale.

I've come to regard the superior end of HBO drama as, above all, novelistic.

I want to link together ancient forms of storytelling and the future.

With 'Words, Words, Words,' that show was me experimenting with something, and then there was a clear direction for me.

As I've grown as a creator, I feel that I want to tread in deeper waters and have a lot more going on emotionally with the characters. That's my appreciation for comics as a creator and a consumer as well. I'm more into stories that don't just bounce off the surface but go a little bit deeper.

Well, most of my sessions have been with Hit-Boy and London, so I haven't had the opportunity to really vibe a lot in person with the other producers. But they're super open to experimenting and taking direction really well and they have good energy.

I would never, ever change the formula of what we would do, but what I want to do is go down somewhere really conceptual. Really artistic. Really theme-oriented. But I don't want to push anything.

I think, as a director, it's always worth pushing yourself and finding out new areas and exploring new ways to tell story.

The criteria for writing mythological books are different. Because the results are known, the end is known. Somebody has created that limit and you have to play within that limit.

My goal is to communicate how powerful the breaking down of artistic barriers can be when grounded in thought, intention, and a true understanding of all the forms that are being experimented with.

Supernatural characters allow actors to experiment. The role isn't restricted to standing in the kitchen and crying. I love doing that, too. But I have done enough of that.

Experiments in the visual arts (the invention of new ways of seeing things), are made because, due to the way the apparatus that makes up the mind is made, old processes and patterns have continually to be broken up in order to make it possible to perceive the new aspects and arrangements of evolving consciousness. The great enemy of intelligence is complacency.

A philosophical mythology lies concealed in language, which breaks out again at every moment, no matter how cautious we may be.

Nothing requires so little mental effort as to narrate or follow a story. Hence everybody tells stories and the readers of stories outnumber all others.

If someone took the finest marble and knew how to shape it artfully: Prometheus' material was lowly clay, but his statues walked.