Top 33 Archetypes Quotes

The collective unconscious consists of the sum of the instincts and their correlates, the archetypes. Just as everybody possesses instincts, so he also possesses a stock of archetypal images.

Most religious stories and mythologies have some sort of similar root, some sort of global archetypes.

We like our archetypes and heroes to be what they are at face value. And life doesn’t work out like that.

Between the theme parks and the movies, the Disney iconography was probably the first set of archetypes that I was exposed to. Walt was able to expose me as a child to the full array of emotions, including fear and sorrow. Those movies and attractions haunted my dreams and made a deep impression on me as a child.

I love Athena. I love all the goddesses and the archetypes and what they represent because I think they’re always going to be relevant not just to women but to humanity. They’re living energy. There’s a lot we can still learn from them.

In a few decades of reconstruction, even the mathematical natural sciences, the ancient archetypes of theoretical perfection, have changed habit completely!

I think that some of the archetypes and works of science fiction that have pierced pop culture and stayed there are the darker ones and the dystopias.

‘Illustrado’ is not an autobiography. Only the ideas are autobiographical; the ideas of bitterness, frustration, unchanging society, an individual lost, social awkwardness… The book satirises archetypes from across Filipino society, and I felt that the least I could do was offer myself up, too.

The stories are there first, and they come from my experiences wandering around in the world. They will resonate into bigger things, forces sweeping the planet, themes and archetypes, but I’m not smart enough to have lucid integration of all that in my head as I’m writing.

Comics deal with fundamental archetypes. We’ve been called the myth-makers of the modern age.

The tricks of magic follow the archetypes of narrative fiction – there are tales of creation and loss, death and resurrection, and obstacles that must be overcome.

‘Divergent’ is a story about people who don’t fit into a category – that is a big part of the message – but it’s also about conformity and forcing people into these simple archetypes. At the end of the day, humans don’t exist like that. We’re multifaceted.

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.

You have to carry so many archetypes as an actor, especially as a blonde-haired, blue-eyed one.

There are many people making a difference. I mean, Dr. King never held an office. Gandhi never held an office. There are people who are archetypes in our society who have never held office and made a difference.

More often than not, however, the person who flatly states ‘Elves aren’t like that!’ is hard pressed to describe how they really look…. as if Tolkien has summoned archetypes from so deep in our minds that we can only recall them incompletely.

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.

In archetypes, there is the Nurturer and the Warrior. Different kinds of strengths that, ideally, complement each other and are equally respected.

We live with our archetypes, but can we live in them?

I look at the story, I look at the idea and just try to think of it in terms of that whole body of myth and see where the characters fit in and what they ought to be doing-all those archetypes are there to play with.

I hope people realize that drag queens and queer people, we’re not just archetypes and stereotypes. We’re human beings with a lot to share. And a drag queen doesn’t have to just be a clown, she can also be like a cooking TV personality or like a DJ, or a talk-show host. We should be able to infiltrate TV everywhere.

That’s not the part of the story that I’m interested in, anyway. The part that I’m interested in is all the personal stuff. I tried to base the powers on family archetypes.

Thrillers rely on certain archetypes and our familiarity with them is quietly driving all of the tension. So it becomes an interesting challenge from the score perspective, to enhance that tension without being noticed, just like those archetypes.

I’m quite drawn to women artists who use themselves in their work. There is a very feminine point of view, the use of female archetypes. I love artists who play with those kind of things genuinely.

I’ve never read Joseph Campbell, and I don’t know all that much about story archetypes.

The whole film is about people being convinced that they can reduce themselves to their 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.

There’s a wide spectrum between a Navy SEAL hero-killer and a traumatized victim, but those are the archetypes – hashed and rehashed in the media, in popular culture, in the minds of people with a lot of preconceived notions but not much else.

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.

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.

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.

A lot of names in America and Europe have their roots in Latin and Greek words. A lot of them go back to archetypes and their stories.

‘Fast Times At Ridgemont High’ is one of my favorite movies; it’s a film that’s a human comedy, it’s a drama, and the characters all, in a way, fit the teenage archetypes, but they don’t become stereotypes because each of the actors brought their own presence and their own personality to the screen.