Quotes About Imagination

The goal of all your hard work should be to make your reality everyone else's fantasy land.

The creative thinker must stand sufficiently detached from his work.

The thing that makes me happiest about Simpsons Illustrated are all the drawings that we get from readers. I wish we could print them all. They're really imaginative. They show a lot of hard work.

It's really thrilling to work with an illustrator - your vision expands with the addition of someone else's artwork/artistic vision.

I think there's a kind of elegance to it, to work within that framework where what you don't see is often more enticing.

I work a lot with a green screen, which is really time consuming. All the special effects are.

The true work of art continues to unfold and create within the personality of the spectator. It is a continuous coming into being.

I just write what I want to read, and sometimes keeping it interesting means adding one more element that ends up adding another year to the work.

It's so much easier to write for an actor than for an imaginary character and then try to fit that character to an actor. It doesn't work very often in my experience.

When you work on a character, you form in your mind an image of what he ought to look like. Then you go and find one who resembles him.

I'm inspired by nature. Other artist's work is important for developing my perception.

[Oz the Great] it's not like I had to imagine things, and as far as wire work goes, I had fun with it.

Ideas' can be only in the distant background of a work of art, something like a very low horizon. In the middle distance and foreground... there shouldn't be any 'ideas' visible.

Stories are made up by people who make them up. If they work, they get retold. There's the magic of it.

There are a lot of artists who've said they'd like to work with me. To be honest, I'm not sure there is such a thing as an inappropriate artist. The trick is matching the artist with a story.

I think naturally I'm a very visual kind of person. If I wasn't in filmmaking, I'd be in something related to visuals. And I used to actually work as a visual-effects artist.

Any writer likes to be near the area which is the location of his work.

The worst thing you can do is animate something, and then throw it out because it doesn't work, story wise.

I have to admit to not being the greatest technician, but stop motion animation gives me licence to create machines that wouldn't otherwise be possible - inventions that seem real and actually work.

I always considered Ray Harryhausen's work so fine that it was way out of my league: in terms of realism and naturalism, in terms of animal movement.

I would love to work with Tim Burton. I think we would be very good together.

I think what we're talking about is a sense of fashion as laboratory work. I mean, we are not scientific, of course, but we are looking for ideas all the time.

I can do my part of the storytelling. I can carry it. I can paint it. I can maneuver it. I can massage it. But if I don't have anything to work with, then there's nothing.

To tap into that natural creative spirit, recapture your childlike enthusiasm for everything around you. Work with the reckless delight of a child.