Quotes About Memory

My sister and I visited Iceland in 2001, and I incorporated it into 'Pretty Little Liars.'

I already visited Rwanda when I was five, but I don't really remember my roots.

I remember visiting my grandmother Adele in Ponce Inlet, Florida, when I was three years old, and she had an IBM electric typewriter. I thought that this electric typewriter was about the most fascinating toy in the world - I liked the little bell and the sounds and the feel of the keys and especially the erase key.

Fanny and Alexander' blew me away. I was visiting my sister in her first year at university. It was my first foray into something dark.

I remember seeing my father only twice as a child for brief visits. As I grew up, I invented a father who was larger than life - stronger, smarter, more handsome, and even holier than other men.

I left Delhi in 1989 and remember very little of how life used to be then. Increasingly, in my recent visits to Delhi, I've started to realize that the city has become intellectually very lively. It makes me want to discover the city over and over again.

We are visual creatures. When you doodle an image that captures the essence of an idea, you not only remember it, but you also help other people understand and act on it - which is generally the point of meetings in the first place.

My entire learning process is slow, because I have no visual memory.

We share a huge visual memory bank, mostly through painting and other images in history. I think when a modern photograph taps into those, sometimes very subliminally, it makes people respond.

As bad as we are at remembering names and phone numbers and word-for-word instructions from our colleagues, we have really exceptional visual and spatial memories.

Smells are so powerful and evocative, sometimes stronger than visual cues.

I've always loved painting, although I never show anyone what I've done. Mainly because I don't do it well. But it's like a form of visual diary for me. A way of fixing things in my mind.

My memory is basically visual: that's what I remember, rooms and landscapes. What I do not remember are what the people in these room were telling me. I never see letters or sentences when I write or read, but only the images they produce.

I have a good visual memory. I'm good with faces, but names - I get in trouble a lot; I can't seem to remember people. People think I'm rude. As a side comment, you know, I'm not being rude: I just kind of blank out.

I have a good memory for early life. My visual memory is good about childhood and adolescence, and less good in the last 10 years. I could probably tell you less what happened in the last 10 years. I remember what houses looked like, sometimes they just pop into my head.

I have been drawing and creating visual works my entire life, as long as I can remember.

Flashbacks rarely involve language. Mine certainly didn't. They were visual, motor, and sensory, and they took place in a relentless, horrifying present.

For me in my twenties, working in Hollywood was confusing in that the differences between what was fiction and what was nonfiction seemed to blur in my mind. Everything became a visual memory for me. I carried my Leica camera, giving opportunity to take pictures from my view.

There must be a little memory bank, a library or storage unit in my brain, that just tucks away memories of other people. I suck in as much of life as I can. I don't do it deliberately - I'm just curious. Dangerously so. I collect visual and aural patterns, physical human patterns, from experience.

When I watch a movie I don't really care too much about the plot - not that it isn't important, but what I remember is the visual imagery, something that happens in an individual scene.

What I do remember is visualization of the sound of music, seeing bodies in movement in relation to how music sounded, because my mother practiced at the keyboard a lot and I also went to her lessons. As a two year old, three year old I remember seeing things in movement.

I have a photographic memory that enables me to visualize what everyone in the huddle is supposed to do on each of the hundreds of plays in our playbook.

If you read a book about school - someone else's book - you always translate it into your own school experiences. It's describing the student: he's bewildered and lost in a large crowd in a university classroom. You'll visualize that from your own experiences. So, everything you know is what you're really writing.

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