Quotes About Imagination

A wood carving of Quixote on his nag Rocinante graced my childhood home.

A piece of sculpture has to be more than a block of wood.

The first pages of any book I remember reading, in Pinner Wood primary school, were from The Beacon Readers: stories of Farmer Giles, Rover the Dog, Old Lob the shepherd and Mrs Cuddy the Cow. I was very fond of Mrs Cuddy.

A puppet, for example, is just a piece of wood, a couple of rivets, but put them together, and if you know how to do it, and the audience's imagination joins in with this, then a miracle will come out of that machine. That is what we and the audience do in the theatre - we create miracles in that space.

Modern man has a very abstract idea of what a wood is. I guess that if you stopped anyone on the street and asked them what a wood actually was, they would see it as a place where big trees grow.

Sometimes, to keep things exciting, I decorate my house as if I owned a child. I'll toss a tiny pair of shoes in the hallway or lean small wooden crutches in what I refer to as 'the baby's room,' which is actually a tiny space where I make things. I continue to call it the baby's room because it confuses people and it's creepy.

At the age of four with paper hats and wooden swords we're all Generals. Only some of us never grow out of it.

The one thing emphasized in any creative writing course is 'write what you know,' and that automatically drives a wooden stake through the heart of imagination. If they really understood the mysterious process of creating fiction, they would say, 'You can write about anything you can imagine.'

At fourteen or fifteen, I decided to earn my living when I grew up playing drums made from wooden beer kegs and leading a group called Keg Brando and His Kegliners. We organized a little band, but it didn't last long and didn't make any money.

In the trunk of her car, my mother used to keep a collapsible easel, a clutch of brushes, a little wooden case stocked with tubes of paint, and, tucked into the spare-tire well, one of my father's old, tobacco-stained shirts, for a smock.

For my seventh birthday, my parents gave me a plain, unfinished wooden dollhouse. It had six empty rooms, two floors, a staircase, and a door that swung out onto a little front stoop. The windows opened, and the roof retracted on one side, revealing an attic.

It's so much fun to dream in your driveway. I had an old wooden backboard in my driveway. That's where my friends and I hung out.

For a boy of ten, used to the coal bings and rust-coloured burns of Cowdenbeath, the fields and woodland of Kingswood, with its overgrown but stately avenue of copper-barked sequoias, felt like a local version of paradise.

I don't remember titles of books or authors from when I was young. I remember the title of only one book, which was 'The Timber Toes.' I remember it was a family of little wooden people who lived in the woods, and for some reason that stayed with me.

I had a fairy shrine in my room, and I went to fairy LARPing camp, and I played Dungeons and Dragons in the woods.

I have always believed in magic. I used to run into the woods as a little kid looking for witches. But I'm not superstitious, because I m not afraid of it. I see it as something really beautiful, and I wouldn't want to live in a world without magic.

As a child, I used to have a secret dread - and a recurring nightmare - of the whole world becoming city, being covered with cement and buildings and streets. No more country. No more woods.

I grew up playing in the woods.

When you get a job on 'The Walking Dead' you imagine you're going to be running through the woods with a lot of weaponry shouting, 'Look out!'

Read the folklore masters. Go to galleries. Walk in the woods. That's what you need to be an artist or storyteller.

I've been a storyteller all my life. When I was in high school, I used to amuse myself by driving through the woods at night and see how long it would be before I scared the pants off my friends - and if I could do it before I scared myself.

The woods are a place where children can go to think. Children gravitate towards these spaces. When I was a child it was nothing more than a scrubby little overhang under a rhododendron bush, but it was incredibly important to me.

A lot of the drive to make narratives came from having to play by myself as a 5- or 6-year-old in the woods.

I had a strong propensity, which I still have, to be invisible. In grade school, I'd try to disappear and become formless. I lived in a very imaginary world. I loved poetry and wrote my first novel when I was 9. It was about a little girl and the people she met in the woods.