Quotes About Imagination

I like 'Sponge Bob' and 'The Last Airbender.' I like shows where people get creative to do the impossible.

I was thinking about what would it be, what would the characters be like, and it just suddenly dawned on me that, hey, nobody is doing an underseas show. So I started drawing these weird invertebrate animals, various characters like crawfish and starfish and squids and sponge.

I'm a sponge when it comes to stories. I'd say everything influences me in some way, but for 'Red Queen' in particular, I was really affected by the 'A Song of Ice and Fire' series by George R. R. Martin.

You have to imagine you write a show about a sponge and you think that maybe a few people will think it is funny, some college students, but it takes off. It is truly shocking - to the point where it is bizarre.

I hope I haven't grown up. The cliche for all artists is that you don't want to lose that child inside. I think when you get sedentary and set in your ways, you can lose a lot of that spontaneity and creativity. I hope I'm holding on to that.

As an actor, you always want to reach back to being a child and having the spontaneity and the imagination of a child.

The way plays happen, at least with me, it's spontaneous combustion of things you've had in your head.

He can't even be at a casual read and not be creating the whole thing in his mind. I remember feeling very awed about how much he still seems to be so in love with it, and so dedicated to making everything really real and really spontaneous.

I don't digitally manipulate my images, because I am interested in the spontaneous act of creating images without forethought. I know many artists start with an idea in mind, and then they put it on paper. I don't work that way.

We find that the more you talk about it, the more you head off any spontaneous inspiration that might happen.

I miss that thing I used to do when I first started out where I would just spontaneously generate ideas and try things and see where they'd go.

The songs sort of come out spontaneously and it'll take me awhile to figure out what exactly is happening lyrically, what kind of story I'm telling. Then I start building little bridges - word bridges - to make everything go from one point to the next point to the next point until it reaches the end.

Everything becomes magnified at night. Sounds travel in a different way, it's dark, and everything seems far more spooky.

When I was a child, I pretended that I had my own cooking show. I would stand at the kitchen counter with an empty bowl and spoon and talk in a silly voice, explaining the concoction I was creating.

You play this sport in the mind, not only on the field.

You can't put a limit on anything. The more you dream, the farther you get.

I look at athletes in all sports and try to picture what kind of football player they'd be, what position they'd play and so on.

When I was a child, I saw in the news that a person from Belitung had done well in sports in Jakarta, and I just couldn't imagine that it was possible for someone from here to become famous, and it's still very isolated out here.

With 'Dear Black Boy,' I wanted to encourage BIack boys to dream outside of sports and think differently.

I always had a soft spot for Sherlock Holmes and used to imagine helping him out.

My first three manuscripts were epic fantasy - like high fantasy - and then the fourth one was a historical fantasy about Mozart as a child. I still have a soft spot for that one!

It is no use describing a house; the reader will fix the scene in some spot he knows himself.

I've always had a soft spot for comic books.

I've always had a soft spot for comic books. I learned to read from them. The words in them were so interesting.