Quotes About Imagination

The reason I feel like I act is because you get to live a million different lives in one. I don't have to go about my life, just being easy-going New Zealander Rose. Sometimes I can inhabit a feisty, vicious character. Sometimes I can inhabit a painfully shy British girl, or whatever it might be.

It never ceases to amaze me that readers who are willing to suspend their disbelief when it comes to the motivation of a vicious serial killer get high and mighty because I have put a coffee shop where there isn't one. Er... it's a novel. I made one up. I'm allowed to make stuff up. I'd go as far as to suggest that I make stuff up for a living.

As a parent who is also a journalist, when I talk to the brother and the sister of a victim or the parent of a victim, I put myself in their position and imagine what would it be like if that happened to me.

You are a victim of your own neural architecture which doesn't permit you to imagine anything outside of three dimensions. Even two dimensions. People know they can't visualise four or five dimensions, but they think they can close their eyes and see two dimensions. But they can't.

I have to know the killer, the victim and the motive when I begin. Then I start to create the characters and see how the novel takes shape based on what these people are like.

The two books I've re-read more than any others are Guenter Grass's 'The Tin Drum' and Victor Hugo's 'Notre-Dame de Paris'.

When I was young, my favorite picture book was 'Fletcher and Zenobia,' written by Edward Gorey and illustrated by Victoria Chess. It's long out of print now, but its mix of macabre humor and 1960s psychedelia made it a perfect children's book for the times.

When I was a child, one of my first games was a time machine which I made for my brother - a big box covered in silver and bits of cellophane. I'd close him up in it and joggle him and say, 'We're in Victorian times now... and now we're in Egyptian times, and I can see all these pyramids and pharaohs.'

I was the eldest daughter with these four beautiful younger sisters with ringlets and pretty faces, and I used to dress them up in Victorian clothes and take them out for the day and pretend they were mine.

Us comics guys tend to get really good at the things we draw a lot. I'm good at creepy old forests, Victorian houses, underground goblin cities, and beautiful but creepy fairies.

To me, steampunk and urban fantasy are naturally hinged together. And I think that's because I love the early gothic Victorian literature, and both things spring from that movement.

I love the idea of exploring the Victorian imagination and what Victorians thought the world of fantasy would look like.

I got the idea for the song 'Bad Company' when I saw a poster for the Jeff Bridges movie, and it reminded of an old Victorian picture that I'd once seen, and it said, 'Beware of bad company.' So I sat down at the piano and started to write the song.

I've always loved film, and since I knew I probably couldn't be a cowboy or a spy in real life, I thought I'd play one in a movie! I started doing theater in middle school and tested for 'Victorious' before being in an episode of 'iCarly.'

I have never started a novel - I mean except the first, when I was starting a novel just to start a novel - I've never written one without rereading Victory. It opens up the possibilities of a novel. It makes it seem worth doing.

The idea of the NHS took root in the political imagination less as an example of social entitlement's victory over private provision, and more as the embodiment of brand Britain.

As a kid, growing up, as far as I was concerned, I was Luke Skywalker. Any sort of small victory or any adversity I would come up against at school, I was like, 'How would Luke Skywalker deal with this?' Everybody was the Empire; anybody who bullied me at school was the Empire.

I recently saw this home video where my brother is playing this character Arsenio Grimley, who is a mix of Arsenio Hall and Ed Grimley - which, clearly, is my parents' doing, because he's, like, 10. He's the host, I'm every guest, and then my dad is Elton John. That was a Saturday night.

When I'm writing songs, I write visually. When I'm writing the words down and I listen to the melody and the lyrics, I start seeing the video form. And if I can get through a song and from the beginning to the end have the whole video in my mind, I think that's a great song.

I think you just assume that your memory is just sort of a video playback of your experience, but it's nothing like that at all. It's a complete refabrication of an event and a lot of it is made up, because you're filling in spaces.

I have so many designs and video ideas and lyrics in my head, so I always try to be productive.

I think afterall, a promotion video is a piece of work in it's own right.

So, there's only so much you can do with a rock video.

I came of age at the end of the 1960s, just when video was also coming into the world. Companies such as Sony and Panasonic were starting to market it and we artists immediately knew how it could be used.