I always have a sense of where I want to end each season, emotionally and relationship wise and with the theme, and I'm always able to hit that.
One thing that's thematically consistent in 'Sin City' is that all the performances seem to be of the same genre, like we're singing the same song.
To be true to life, a novel must have an ending that is inevitable given the specific personalities of the characters involved. The novelist must not impose an ending upon them.
If I was going to direct an episode of 'Younger', I wanted it to look like an episode of 'Younger.'
I tend to describe recurring themes as being part of a writer's DNA - something so deeply embedded in us that even we don't notice it until we've written three or four books.
My discussion is one that has gone all the way from Fistful of Dollars through Once Upon a Time in America. But if you look closely at all these films, you find in them the same meanings, the same humor, the same point of view, and, also, the same pains.
You can read a character that feels amazing, but if the world around it and all the writing around it - even the way the stage descriptions are written - don't feel just right, then you know there's no point in doing the project. No character is ever bigger than the whole film.
What I appreciate about Radiohead's work - and it's most evident in 'Hail to the Thief' - is how the juxtaposition of narratives on the band's albums somehow creates a sense of wholeness.
However, there's no theme or concept behind Heathen, just a number of songs but somehow there is a thread that runs through it that is quite as strong as any of my thematic type albums.
...the characters in my books all resemble each other. They live, with minor variations, the same moments, the same perils, and when I speak of them, my language, which is inspired by them, repeats the same poems in the same tone.
My writing is different. I think it's better. I think it's deeper. But, strangely enough, it covers a lot of the old ground. Maybe it says it in a more sophisticated way ... but I [have written] about basically the same subjects over the years.
All the books I have written have been one book, from the beginning.
It is always just telling a story, regardless of the age of the reader. Except, if I'm writing something for kids, I know there has to be hope. I don't necessarily feel that responsibility for adults, but I emphatically feel it for children. That's the only difference. There's no syntax difference. There's no semantics difference. There's no thematic difference.
As I do with most films, I try and find some music that you could use throughout, not just a sampling of lots of different artists.
I don't reinvent myself in any major way. It seems to be a slow evolution. I go back and visit certain themes that I feel strongly about and resonate with me emotionally.
The poets of each generation seldom sing a new song. They turn to themes men always have loved, and sing them in the mode of their times.
I'm always writing across the same themes. But with short stories, I'm doing something different than with novels. In some ways, they're coming from a much deeper place.
'Lost' is such a thematic show that I'm always afraid that if I know something's going to happen at the end, I'll subconsciously write something in where someone who's astute will go, 'Oh, he used so-and-so's theme: that must mean so-and-so is coming back!'
If I spend time at the front of the process worrying about connecting themes, then I won't write the best songs.
I know I repeat myself in all my movies, but I just let it go, let it happen. Clearly, I'm not finished with that issue. But they seem to me like completely different movies. They're definitely coming from me.
There's nothing wrong in sporting a bikini. If the director wants to shoot you in a pool, you cannot be wearing denims or a saree - you need to be dressed accordingly to the situation.
I used the same designer and costume designer on 'The Eagle' and 'The Last King of Scotland.'
I feel like I write the same album every time but each time I try to convey the message more simply.
When we see Rey, we want to hear Rey's theme, and when the Force is referred to or felt, we want to hear the Force theme, and so on. We hope that these references make sense to the fans and make the aural connections that we want them to have.
There are certain topics that I've come back to time and again throughout my career. On 'To the Bone,' there are certain subjects I have touched on before.
