Tropes Quotes

In movies and TV, we tend to fall into tropes about how characters might get out of problems. But when you look at real life, you realize that there is a lot of drama of not being able to get out of the problems.

Some facts in life are immutable. One is, trust no-one who uses the word 'trope'.

It's so rich as a trope - the whole idea of the road and it being in terms of language, being an active experience.

I feel like we can prove in real time the old trope that comedy is tragedy plus time.

We still have our larynx, we still have our minds and we still have our consciousness. We still have this gift to make things with words and images and get outside these preordained tropes and ways of thinking and the master narratives - what's handed to us.

I always wanted to create a project that would allow me to think about cross cultural relationships and hybridization but did not want to use my personal story or standard tropes of multiculturalism.

The only way to real mature love is to get past the tropes of what we consider 'romance.'

An imaginative book renders us much more service at first, by stimulating us through its tropes, than afterward, when we arrive atthe precise sense of the author. I think nothing is of any value in books, excepting the transcendental and extraordinary.

I think the idea was to make a horror film that became a science-fiction film with a lot of melodramatic tropes.

For me there is a poesis, a poetics, around the trope of the road that is embedded within many life experiences of the people I've been close to.

Anywhere, anytime, I'd sacrifice the finest nuance for a laugh, the most elegant trope for a smile.

I don't think it is as a trope or as something in our psyches. There's very little wilderness out there but there is wild mind, and the Wild mind that actually, as Gary Snyder says, wants to take care of things. There's an elegant quality to the wild mind.

One of the tropes of our videos is that they were very rhythmic with clipped edits.

Moving cities are a fairly hoary old sci-fi trope - I seem to recall they were always cropping up on Doctor Who when I was young, though I may be misremembering.

Do proper homage to thine idol's eyes; But no too humbly, or she will despise Thee and thy suit, though told in moving tropes: Disguise even tenderness if thou art wise.

It would seem as if the very language of our parlors would lose all its nerve and degenerate into palaver wholly, our lives pass at such remoteness from its symbols, and its metaphors and tropes are necessarily so far fetched.

I think that young women and little girls need to see that they don't have to be the damsel in distress. They don't have to not show their strength. They don't have to be whatever the stereotype is or the tropes that we go to in our minds.

To call ourselves a Microcosme, or little world, I thought it onely a pleasant trope of Rhetorick, till my neare judgement and second thoughts told me there was a reall truth therein: for first wee are a rude masse, and in the ranke of creatures, which only are, and have a dull kinde of being not yet priviledged with life, or preferred to sense or reason; next we live the life of plants, the life of animals, the life of men, and at last the life of spirits, running on in one mysterious nature those five kinds of existence, which comprehend the creatures not onely of world, but of the Universe.

It's fun playing the judge, because I grew up on all the courtroom stuff in movies and TV. So, you know all the tropes, and you know all the expressions.

The etymologist finds the deadest word to have been once a brilliant picture. Language is fossil poetry. As the limestone of the continent consists of infinite masses of the shells of animalcules, so language is made up of images or tropes, which now, in their secondary use, have long ceased to remind us of their poetic origin.

Hence, when some members of the Iranian diaspora, especially women at the moment, use different tropes including the trope of the veil and the issue of gender to construct an image of oppression or to describe the 'silenced' Iranian woman, western intellectuals, policymakers, and publishing houses are all quick to introduce them as presenters of the authentic Iranian experience.

I've read there is no such thing as a single tear, that old poetic trope. And perhaps there isn't, since hers was simply a companion to my own.

The TV Tropes QC page is every single idiotic comment from my forums distilled into one HTML document.

The Collector [John Fowles book] does such a good job of capturing the mindset of a capturer, and also that's become a banal trope of every second crime novel: the weirdo, fetishistic watcher/stalker/kidnapper/kidnapper of women or children.

I love fantasy. I grew up reading fantasy. But, I wanted to put a somewhat different spin on it. The whole trope of absolute good versus absolute evil, which was wonderful in the hands of J.R. Tolkien, became cliche and rote in the hands of the many Tolkien imitators that followed.

There's the trope about an impending "global-warming encyclical." The pope is preparing an encyclical on nature and the environment, including the human environment (which includes the moral imperative of a culturally affirmed and legally recognized right to life from conception until natural death). So what happens? A low-ranking Vatican official for self-promotion gives an interview to the Guardian in which he claims that this is a global-warming encyclical - which he couldn't possibly have known, as the document wasn't drafted yet.

After the horrific massacre Wednesday at the French weekly satirical magazine Charlie Hebdo, perhaps the West will finally put away its legion of useless tropes trying to deny the relationship between violence and radical Islam.

What I like about narrative in general is when there is some incongruity between the form and content. Let's say, mixing up the gothic with a coming-of-age narrative. Telling a love story that's also a monster story. Mixing up superhero tropes with your monster tropes. I like category confusion.

One path I've used a lot is to deeply and thoughtfully consider a trope or a tradition, and then set about taking it apart - but only in the service of a character or story that deserves it. Another path I often employ is to put form into "play" - to set it free from its ordinary constraints and let it be free-floating and broken-apart and rearranged.

For someone who is starting out on developing their critical skills, just being aware of its existence is great: it can make the difference between trying to write a story around a cliche or an original idea, and better still, studying it can eventually clue you in on how to breathe new life into tired tropes.

Oh, the foghorns... even the foghorns, they're all brass. It's something by Ingrid Marshal called Fog Tropes. It's not a sound effect. It's an actual piece of music. If you listen to what's going on after he has a flashback about his wife you'll hear... it sounds like the humpback whales in a way. But it's all music. And we use it again later, too.

Star Wars film is breaking all previous box office records. (Why might we want to revisit those characters, that narrative, those jokes and tropes again, in this way, right now? I wonder what it will turn out to reveal about the economics and politics of this moment.)

I should probably confess that I get bored easily, which explains my reluctance to work with formula, tropes, whatever.

One of the things that bugs me about the Western Literary Tradition is that the conventions of narrative in particular seem to confine the stories you can tell about characters to tropes of bone-headed action and old models of psychological realism. And as readers, too, we have been conditioned to understand characters as - and forgive me for saying it out loud - what the market says they should be. Namely, safe, clean, proper.

My novels tend to come about from a fusion of two big ideas, creating a critical mass that then fissions, throwing off hundreds of other particles, riffs, tropes and characters.

Self-reinvention is an essential trope of the American project, closely linked to another such trope: going on the lam. Both are regularly featured in movies and novels and suchlike. Criminals and persons loitering with and without intent hold a crucial place in the culture. For obvious reasons, the culture cannot endorse this behavior, even as it is in thrall to it.

Audiences are hungry for something different. With binge-watching, they're hungry for interesting content they haven't seen before, and they want to be entertained. A lot of shows are grim, murky and dark. We wanted to spin away from the obvious, the tropes, the cliches and what people are doing right now, and do something different.

I have written it before and am not ashamed to write it again. Without Wodehouse I am not sure that I would be a tenth of what I am today -- whatever that may be. In my teenage years, his writings awoke me to the possibilities of language. His rhythms, tropes, tricks and mannerisms are deep within me. But more than that, he taught me something about good nature. It is enough to be benign, to be gentle, to be funny, to be kind.

I just watched so many Westerns as a kid that you end up using archetypes and sort of tropes of that genre, because there's a language there and you can twist it and turn it on its head or play to it or go sideways at any time.

Some tropes are universal. Boy meets girl. Betrayal and revenge. The search to discover a hidden truth.... A mother's love isn't cliché, it's universal. These things are archetypes. They're the building blocks of myth and legend. They are a big part about what it means to be human.

If you want to appeal to people of different languages and cultures, you have to move toward tropes that are universally recognized. Games, references, subtleties that only work in your language are hardly useful.

I love the of dealing with the homoerotic versus the idea of dealing with certain tropes with regards to black masculinity in the world, propensity towards sports, antisocial behavior, hypersexuality - all of these sort of non-truths that I don't exist in but that I see as being fixed in the world's imagination.

I have a great amount of respect for the audience. They know narrative construct. They know all the tropes.

I think we're always trying to avoid tropes. And I think that "Game of Thrones" has almost made killing people a cliche. For us, it wasn't about that. For six episodes, it's hard to invest in people, and I think when you kill a main character on television it really needs to mean something. So we certainly had talked about that, and I think we managed to juggle the ball to make a gripping, interesting and compelling finale. We feel that we didn't have to go there at this point because we had such few episodes.

Originally the premise of killing Hitler was fueled by deep traumatic feelings of wishing and fantasizing that if only things had been different, we could have spared ourselves all kinds of suffering. More recently it's been turned into a comedic trope. As we go forward, tragedy plus time equals comedy...

A fashionable idea in technical circles is that quantity not only turns into quality at some extreme of scale, but also does so according to principles we already understand. Some of my colleagues think a million, or perhaps a billion, fragmentary insults will eventually yield wisdom that surpasses that of any well-thought-out essay, so long as sophisticated secret statistical algorithms recombine the fragments. I disagree. A trope from the early days of computer science comes to mind: garbage in, garbage out.

The other thing is that it's really hard to separate out the harassment from everything we do. When we started creating Tropes, we were hyper-aware of the intense scrutiny, the intense harassment, and the intense pressure to do something meaningful given the attention both positive and negative. That's carried over in terms of making sure that I produce the best work that I can, that's the most accurate, the most sensitive and engaged.

The Nazis, for him, are merely available movie tropes--articulate monsters with a talent for sadism. By making the Americans cruel, too, he escapes the customary division of good and evil along national lines, but he escapes any sense of moral accountability as well. In a Tarantino war, everyone commits atrocities. Like all the director's work after 'Jackie Brown,' the movie is pure sensation. It's disconnected from feeling, and an eerie blankness--it's too shallow to be called nihilism--undermines even the best scenes.