I am oblique; I think that has to do with my own nature. I like trying to do things which work on many levels, because I think it is terribly important to give an audience a lot of things they might not get as well as those they will, so that finally the film does take on a texture and is not just simplistic communication.
What I write is different from what I say, what I say is different from what I think, what I think is different from what I ought to think and so it goes further into the deepest darkness.
Individual; that means he has his own special way to communicate, which creates the form of him. In the information age, this expression and communication has become so different.
It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of light, it was the season of darkness, it was the spring of hope, it was the winter of despair.
Most contemporary novels are not really "written." They obtain what reality they have largely from an accurate rendering of the noises that human beings currently make in their daily simple needs of communication; and what part of a novel is not composed of these noises consists of a prose which is no more alive than that of a competent newspaper writer or government official. A prose that is altogether alive demands something of the reader that the ordinary novel-reader is not prepared to give.
The purest lesson our era has taught is that man, at his highest, is an individual, single, isolate, alone, in direct soul-communication with the unknown God, which prompts within him.
The future of cinema and communications is all about collaboration and the decentralized control of storytelling. We're all part of the story; we can all contribute and participate.
The moment our discourse rises above the ground-line of familiar facts, and is inflamed with passion or exalted thought, it clothes itself in images. A man conversing in earnest, if he watch his intellectual processes, will find that always a material image, more or less luminous, arises in his mind, contemporaneous with every thought, which furnishes the vestment of the thought.... This imagery is spontaneous. It is the blending of experience with the present action of the mind. It is proper creation.
Poetry is not the proper antithesis to prose, but to science. Poetry is opposed to science, and prose to meter. The proper and immediate object of science is the acquirement, or communication of truth; the proper and immediate object of poetry is the communication of immediate pleasure.