Fantasy is probably the oldest literary device for talking about reality.
I can work in films as long as the story doesn't have a realistic nature. If I'm working with an allegory, a fantasy, it can be developed in synthetic terms.
Every myth is psychologically symbolic. Its narratives and images are to be read, therefore, not literally, but as metaphors.
I've always felt that 'X-Men' was about something serious. It wasn't just fantasy.
Really interesting genre films, especially monster movies, evoke the fears of the times intentionally.
For me, the short story is not a character sketch, a mouse trap, an epiphany, a slice of suburban life. It is the flowering of a symbol center. It is a poem grafted onto sturdier stock.
All great novels are great fairy tales.
Myth and fairy-story must, as all art, reflect and contain in solution elements of moral and religious truth (or error), but not explicit, not in the known form of the primary 'real' world.
If there is one ‘constant’ in the structure and theme of the wonder tale, it is transformation.
Fiction to me is a kind of parable. You have got to make up your mind it's not true. Some kind of truth emerges from it, but it's not fact.
If you tell a story that's only allegory, then it doesn't help you at all. If it doesn't bring some emotional charge, then it's just talking about something.
There is not a great Spanish tradition of ghost stories. But in the period of Franco, you'd find these ghost stories: sort of hidden political movies that were supposed to be about ghosts but were about something else.
The fairy tale emanates from specific struggles to humanize bestial and barbaric forces, which have terrorized our minds and communities in concrete ways, threatening to destroy free will and human compassion. The fairy tale sets out to conquer this concrete terror through metaphors.
Sometime reality is too complex. Stories give it form.
Fierce warres and faithfull loves shall moralize my song.
It is not usually possible in a poem or a story to make the relationship between particular and universal fully explicit. Those who try to do so end up writing parables.
Americans don't understand what metaphor in cinema is about. They're extremely good at making straightforward, linear narrative movies, which entertain superbly. But they very rarely do anything else.
