Quotes About Imagination

I realized that people make cartoons for a living. It had never dawned on me that you could do this as a career.

I can think of no other experience quite like that of being 20 or so pages into a book and realizing that this is the real thing: a book that is going to offer the delicious promise of a riveting story, arresting language and characters that will haunt me for days.

I remember being so homesick and realizing that where I came from was not something that existed in the cultural imagination outside the city. People used to think Miami was just partying in South Beach all the time.

When I first starting conceiving series like 'Courtney,' 'Polly,' 'How Loathsome,' etc., I was shooting for closed story-arcs but open-ended concepts. Then I started realizing I was committing myself to potentially endless series.

I gravitate much more toward realism, realism in the work that I do, but magical realism got me hooked on film. I think it was my first time realizing that there was something besides popcorn movies.

Honestly, I think I was in kindergarten. I remember seeing a play and realizing that was what I wanted to do. I remember always wanting to retreat to my room or somewhere private to play pretend by myself.

Look. Art knows no prejudice, art knows no boundaries, art doesn't really have judgement in it's purest form. So just go, just go.

Originality is really important.

I'm usually working on my own mythology, my own realm of created characters. Stories in mythology inspire me, though I may not be conscious of it.

The whole world, as we experience it visually, comes to us through the mystic realm of color.

America was a thing I saw on TV - that wasn't a real world. That wasn't within my realm of dreaming.

I always put my fantasies in the realm of goals.

Some writers such as John Cheever and Raymond Carver seem to draw artistic energy from analyzing the realm of their own experiences - their social circles and memories and mores. I'm one of those who draw creative energy from the opposite.

I believe in rooting poems in actual places, even if you move into some other extraordinary realm.

I get up in the morning, look around, arrange and rearrange things, and imagine how I might like them to look. Why doesn't everybody?

I didn't set out to be a singer. Actually, the earliest creative efforts I made were drawings copied from comics we got every week at the newsagent, or rearranging photos I cut out and pasted in scrapbooks.

Any artist should be grateful for a naive grace which puts him beyond the need to reason elaborately.

One of my psychoses is that I feel like I can do anything. Actually, I believe anybody can do and make anything, even things that don't exist. The making isn't the hard part; it's having faith. If you do only reasonable things, you'll never start your own business.

A lot of fiction doesn't answer a question that any reasonable person would ever ask.

The experiment of poetry, as far as I am concerned, happens when the poem carries you beyond where you could have reasonably expected to go.

Sometimes I can see the whole painting from the outset in my mind's eye. But more often than not, that idea doesn't last the duration of the painting. Sometimes it comes out easy, just as I had envisaged. But that is reasonably rare.

As we get older, we tend to become more risk averse because we tend to find reasons why things won't work. When you are a kid, you think everything is possible, and I think with creativity it is so important to keep that naivety.

There are different reasons to make movies.

Well, I always try to look at my characters as being better than I am. That's one of the reasons I guess I became an actor - because you get to create a persona that's bigger or better or more interesting than your own.