Quotes About Imagination

Cinema, which demands suspension of disbelief, is an increasingly naive proposition.

Everyone knows that a movie is false. But if as filmmakers we give the audience too many reasons to lose the suspension of disbelief, I believe we're working our way down a hole.

The more you can create that magic bubble, that suspension of disbelief, for a while, the better.

Sometimes I read a script and it's obvious from early on that it's one where the suspension of disbelief has to develop strongly from page one. Some are more reality-based.

What do you know? Haven't you heard of suspension of disbelief?

I'm a very skeptical guy: my willing suspension of disbelief doesn't go very far when I'm reading other people's SF, and it goes even less far when I'm writing my own.

The desire to live in our imagination is driven by this suspicion that we're disembodied sensibilities cobbled into our bodies. That idea has infused most of human thought since the very beginning.

I don't know how to defend myself: surprised innocence cannot imagine being under suspicion.

I've often entertained paranoid suspicions about my fridge and what it's been doing to my poetry when I'm not looking, but I never even considered that my fan was thinking about me.

Literature, not scripture, sustains the mind and - since there is no other metaphor - also the soul.

The Polar Express is about faith, and the power of imagination to sustain faith. It's also about the desire to reside in a world where magic can happen, the kind of world we all believed in as children, but one that disappears as we grow older.

One of the things you hope you've done as a playwright is create roles that can sustain different interpretations.

Glamour is an imaginative process that creates a specific emotional response: a sharp mixture of projection, longing, admiration, and aspiration. It evokes an audience's hopes and dreams and makes them seem attainable, all the while maintaining enough distance to sustain the fantasy.

Novels will remain my meat and potatoes, what sustain me imaginatively.

It looks like the writer is telling you a story. What the writer is actually doing, however, is using words to evoke a series of micromemories from your own experience that inmix, join, and connect in your mind in an order the writer controls, so that, in effect, you have a sustained memory of something that never happened to you.

I have an imagination that will go in any direction it is prodded. I pride myself on being able to become enthusiastic about anything: If you tell me to write a screenplay about cucumber farms, I'll swallow hard, and in 48 hours, I'll be in love with cucumber farms.

I have been enlightened. I have fallen into poetry and it has swallowed me up.

I've always been a Marvel fan. As a kid, I would pick up a two-foot stack of comics and read them in the back of my dad's car on long journeys across the States. That's how I used to make friends - I'd meet up with other kids, and we'd swap comics.

I swear to God I was freaked out about the Aswang when I was a kid in the Philippines.

I briefly considered doing Edgar Allan Poe and just swearing a lot.

At a personal level, I rather like it if you can create characters and storylines that don't have to rely on being crude and swearing.

I'm the laziest inventor you ever met. My inventing is in my head - I don't have to be in the lab working and sweating.

I have never had other kids in the house... I had a huge collection of marbles, and they all had names, which I think concerned my parents. I used to go and sweep outside and talk to myself, and my mum's friends would be over and say, 'Do you realise she is talking to herself?'

Even the pictures I was doing at college - a little narrative based on a butterfly catcher, or a chimney sweep - the images were always telling stories. They were all scenarios and moods which I storyboarded and worked through - it's exactly what I do now.