Quotes About Imagination

I grew up in the seaside town of Porthcawl in South Wales, the third eldest of four children. We weren't overly bookworm-ish but I found the library magical - and I thought librarians earned their wages from book fines!

Karma is experience, and experience creates memory, and memory creates imagination and desire, and desire creates karma again. If I buy a cup of coffee, that's karma. I now have that memory that might give me the potential desire for having cappuccino, and I walk into Starbucks, and there's karma all over again.

Consulting the rules of composition before taking a photograph, is like consulting the laws of gravity before going for a walk.

Even if you walk exactly the same route each time - as with a sonnet - the events along the route cannot be imagined to be the same from day to day, as the poet's health, sight, his anticipations, moods, fears, thoughts cannot be the same.

I saw a picture of Elvis in blue lame, and thought that if I could recreate that suit and walk down the King's Road in it, someone might pick me up and take me off on a crazy adventure.

If you have too many quotes from other people in your head, you can't create. You have to keep your head empty. That's why I am constantly enjoying the sky, the park, the walk.

You have to come in and be that character when you walk into the room. That's what one of my first acting teachers taught me. You know, don't go in there being Jennifer and then expect to flip and change, because they're not going to have that imagination.

My ideal reader is somebody who trips over a copy of my book on the sidewalk; then they pick it up and read as they walk. Somebody who comes in knowing nothing, caring nothing, but responds to the story.

I never walk into the studio and say, I'm going to write a song called... 'X' or called 'Slow Me Down.' I write a ton of lyrics, often the title is somewhere in those 10 pages of... I call it brain vomit. It's kind of like whatever comes out of my head and I'm unabashedly just writing it down.

If you write a letter of resignation or something with an agenda, you're simply using a pen to record what you have thought out. In a poem, the pen is more like a flashlight, a Geiger counter, or one of those metal detectors that people walk around beaches with.

Sometimes we'll walk into a set, and I'll think, 'Oh, this film doesn't look like this.' You know, 'cause I read the script, and I saw it in my head in some other way. Which is a lot like what happens when they're writing a movie that's based on a book - I'm like, 'Ah! He doesn't have a beard.' You have these visions in your head about it.

It's become normal for me to walk on set as Popeye, Frankenstein or an Elf or even a chicken.

I had no idea of the character. But the moment I was dressed, the clothes and the make-up made me feel the person he was. I began to know him, and by the time I walked onto the stage he was fully born.

I wanted to life the energy of a room when I walked into it and I wanted to take people away from the sadness of life and into a dream world.

The first time I walked onto the set of Neverland, it was like walking into another world. They built the sets extra strong, so we were allowed to play on them when we weren't filming. It was cool!

There were no clippings of Ambedkar. The only thing I had was a two-and-a-half minute film which I saw countless times. Nobody knows how he walked, how he spoke, or how he behaved. I had to conceive all those things in my mind. I had to work a lot on the make-up, too.

When I first walked into 54 Below, I had this kind of deja vu experience and tried to imagine what this was like back in the day when I would come here at night after doing 'A Chorus Line.'

Sometimes I think my writing sounds like I walked out of the room and left the typewriter running.

Children are primed to take in something of more moral value than they're getting. I know I'm blowing my own horn here, but 'E.T.' had value to it in terms of the feeling about yourself that you walked away with.

I didn't have a lot of friends. I just walked around a lot and made up stories in my head. Then I'd go home and write them down. That's how I got started.

Even as a child, I had walked down streets reading novels, waiting for my feet to get stuck in tar as I crossed the road, like the absent-minded animal in a Richard Scarry kid's book.

When I was three years old, a nanny took me shopping and I saw large cut-outs of Mary Poppins in the store and yelled, 'That's mummy!' These women walked by and said, 'Oh how cute. That little girl thinks that Mary Poppins is her mum.'

I grew up in a bookless house - my parents didn't read poetry, so if I hadn't had the chance to experience it at school I'd never have experienced it. But I loved English, and I was very lucky in that I had inspirational English teachers, Miss Scriven and Mr. Walker, and they liked us to learn poems by heart, which I found I loved doing.

There is one person who can help solve 'writer's block'. His name is Mr. Johnnie Walker.