I am not the archetypal leading man. This is mainly for one reason: as you may have noticed, I have no hair.
You go back to look over the body of my work, and there are no archetypal villains in my books.
Bridges represent archetypal problems. They are artifacts that bring you across or around an obstacle. So they have an unbelievable force.
I have my own cosmology that's kind of like an esoteric mix of a lot of different things that work for me and that to me, are worth exploring. There is a little bit of the archetypal Christianity that I've kind of reconciled because when you're raised that way, inevitably that infrastructure will persist into your adulthood.
There's a great deal of tension between so many kind of distinctive and restrictive female archetypes and images in the world. When you play with the archetypes, you get free.
Most musicals are informed by very rigid archetypes. If you get a very sophisticated mind writing them, you sense something else, but it's a folk-art form, really, at its best. At different times, I've tried to push against it as much as I possibly could, but ultimately, it is a folk-art form.
It's important to me to create archetypes of human experiences and make them so that the song has a sense of purpose when you experience those emotions. You know, just making people feel like they're not alone.
That's what noir feels like to me. It feels like some kind of recurring dream, with very strong archetypes operating. You know, the guilty girl being pursued, falling, all kinds of stuff that we see in our dreams all the time.
With respect to the respective French and German traditions you are no doubt correct, although I am reluctant to see individual achievement reduced to archetypes.
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.
I start out giving characters archetypes and parameters. Once I know the basics and have a rudimentary model, it's easier to carve unique curves and edges. It's quite easy to guess how a character is going to react if you know their background, and at a certain point, you realize you understand them personally.
We all know him: everybody has an Archie Bunker in their family, so you love to laugh at him, and you never take it personally; everybody just has a ball laughing at him.
You can't hold me to the same standard as the president or a school teacher. I'm just a comedian. My job is like Archie Bunker.
People are just way too sensitive. You couldn't have a show like 'Archie Bunker' on TV. People would go crazy; they would lose their minds.
When you say 'comic book' in America, people think of Mickey Mouse, and Archie. It has a connotation of juvenile.
It's not new: In the '70s, Archie Bunker said terrible things on 'All in the Family,' but it was all in Carroll O'Connor's performance. You saw lack of intelligence, and you laughed.
Maybe they continued to agree with Archie Bunker - as I said earlier, you can't change people's minds, but you can get them to think.
The first thing that an architect must do is to sense that every building you build is a world of its own, and that this world of its own serves an institution.
People called me a hoodlum and a thug. But they didn't tell you I was a carpenter, an architect, a stand-up comic - even a bartender. And a barbecue cook. But they didn't tell you that.
I used to not like being called a 'woman architect': I'm an architect, not just a woman architect. Guys used to tap me on the head and say, 'You are okay for a girl.' But I see the incredible amount of need from other women for reassurance that it could be done, so I don't mind that at all.
