Quotes of All Topics . Occasions . Authors
I chose Bagdasarian Productions when I heard from some colleagues at work who were buying story boards at the time back in the early '90. I met the man once when I came in with the first half of the story board and the only thing he said when looking at the first half of the board was, "It's so nice to see someone using their imagination."
Indeed, the ideal for a well-functioning democratic state is like the ideal for a gentleman's well-cut suit it is not noticed. For the common people of Britain, Gestapo and concentration camps have approximately the same degree of reality as the monster of Loch Ness. Atrocity propaganda is helpless against this healthy lack of imagination.
Brazil obviously connotes something in my mind to do with desire, sexuality and freedom. In fantasy, in mythology, Rio is the iconography of the imagination. In essence, we're all sex tourists. I've never been to Rio and I've never been to a psychoanalytic convention, but in a sense, Rio is symbolic of desire, some sort of ultimate ecstasy.
When someone hears that I've written a book about 1897, I'm usually met with blank stares. And the first thing they say is, 'Was there even an L.A. back then?' A lot of people don't even think there was a city before the movies appeared. That concept of Los Angeles is so strong in the popular imagination that celebrity overrides everything.
Fantasy consists in a morbid fascination with unrealities, which secretly transforms itself into a desire to make them real. Imagination is a form of intellectual control, which presents us with the image of unrealities in order that we should understand and feel distanced from them. In imagination we dominate; in fantasy, we are dominated.
Total experiences, of which there are many kinds, tend again and again to be apprehended only as revivals or translations of the religious imagination. To try to make a fresh way of talking at the most serious, ardent, and enthusiastic level, heading off the religious encapsulation, is one of the primary intellectual tasks of future thought.
The essential fault of surrealism is that it invents without discovering. To make a clam play an accordion is to invent not to discover. The observation of the unconscious, so far as it can be observed, should reveal things of which we have previously been unconscious, not the familiar things of which we have been conscious plus imagination.
When he painted a road, the roadmakers were there in his imagination, when he painted the turned earth of a ploughed field, the gesture of the blade turning the earth was included in his own act. Whenever he looked he saw the labour of existence; and this labour, recognised as such, was what constituted reality for him. (On Vincent Van Gogh)
Christ himself came down and took possession of me. . . I had never foreseen the possibility of that, of a real contact, person to person, here below, between a human being and God. . . in this sudden possession of me by Christ, neither my sense nor my imagination had any part: I only felt in the midst of my suffering the presence of a love.
The mark of the modern world is the imagination of its profiteers and the counter-assertiveness of the oppressed. Exploitation and the refusal to accept exploitation as either inevitable or just constitute the continuing antinomy of the modern era, joined together in a dialectic which has far from reached its climax in the twentieth century.
Canned reference is practically always loaded with problems. Photos, for example, contrive to kill imagination and stifle the natural development of creative patterns. While "ready-mades" do show up from time to time, they are rare. Art need not be what is seen-but what is to be seen. "Nature," said James McNeill Whistler, "is usually wrong."
Wishing is the beginning of imagination. They practice wishing when they are young things, and then -when they have grown - they have a developed imagination. Which can do some harm - greed, that kind of thing - but more often does them some good. They can imagine that things might be different. Might be other than they seem. Could be better.
At least since the Industrial Revolution, the world of design has been dominated by the rigors of manufacturing and mass production. Assembly lines have dictated a world made of parts, framing the imagination of designers and architects who have been trained to think about their objects as assemblies of discrete parts with distinct functions.
Of course, a culture as manically and massively materialistic as ours creates materialistic behavior in its people, especially in those people who've been subjected to nothing but the destruction of imagination that this culture calls education, the destruction of autonomy it calls work, and the destruction of activity it calls entertainment.
Because the child must have a valuable thing which is called imagination. The child must have a secret world in which live things that never were. It is necessary that she believe. She must start out believing in things not of this world. Then when the world becomes too ugly for living in, the child can reach back and live in her imagination.
There's basically an element of fiction in everything you remember. Imagination and memory are almost the same brain processes. When I write fiction, I know that I'm using a bunch of lies that I've made up to create some form of truth. When I write a memoir, I'm using true elements to create something that will always be somehow fictionalized.
Now, as Mandelbrot points out, ... Nature has played a joke on the mathematicians. The 19th-century mathematicians may not have been lacking in imagination, but Nature was not. The same pathological structures that the mathematicians invented to break loose from 19th-century naturalism turn out to be inherent in familiar objects all around us.
My imagination? No, I don't think it's VIVID at all. On the contrary, it's not nearly potent enough. My poor imaginative faculties have always needed...extentions. That's why I'm here with you. You're smiling again, or rather you're SMIRKING. Funny word, smirk. Rather like an extraterrestrial surname. Simon Smirk. How do you think that sounds?
When you do your collection, you are much more free. You have fewer boundaries. When you work on a movie, you have to take into consideration the story, the plot, the vision of the director, even the physique of your cast. And then on top of all this, you want your imagination, your taste, and your ideas to come through. But a movie is forever.
Although no definite reason for the accident has been established, modifications are being embodied to cover every possibility that imagination has suggested as a likely cause of the disaster. When these modifications are completed and have been satisfactorily flight tested, the Board sees no reason why passenger services should not be resumed.
When you first get started, you're the only one with a vision. When you become creative and use your imagination, pretty soon the things you imagined, you can get done. If you got a taste of it, if you got a taste of what I'm talking about, you'd rather do that than eat. You couldn't get enough of it. You'll hunger for it the rest of your life.
Is a brazen and innocent confrontation with paternal authority an unbearably terrifying prospect to some? Are the consequences of a fathers anger and displeasure so catastrophic in the primal imagination that every semblance of it in the world both literally and metaphorically must be denounced in the strongest possible terms? It would seem so.
Good conversation can leave you more exhilarated than alcohol; more refreshed than the theater or a concert. It can bring you entertainment and pleasure; it can help you get ahead, solve problems, spark the imagination of others. It can increase your knowledge and education. It can erase misunderstandings, and bring you closer to those you love.
We know their names: Hippolyta, Antiope, Thessalia. But they were long thought to be just travelers' tales or products of the Greek storytelling imagination. A lot of scholars still argue that. But archaeology has now proven without a doubt that there really were women fitting the description that the Greeks gave us of Amazons and warrior women.
Daisy was a consciously happy young woman without any of the usual endowments that make for conscious happiness, money apart. She was not pretty, she was not clever, she had no friends, no talents, nor even an imagination to make her think she was happy when she was really miserable. As she was never miserable, she had no need of an imagination.
I feel really strongly about not wanting to overly guide the reader about what he or she should think. I really trust the reader to know for themselves and not to need too much. You have your own imagination, your own experiences, your own feelings, and a novel wants ultimately to ask questions. It doesn't assert anything, or shouldn't, I think.
There are instances: [Henry David] Thoreau read [John] Wordsworth, [John] Muir read Thoreau, Teddy Roosevelt read Muir, and you got national parks. It took a century for this to happen, for artistic values to percolate down to where honoring the relation of people's imagination to the land, or beauty, or to wild things, was issued in legislation.
Growing up, I didn't have television. My dad would make up stories and tell me stories, so my imagination ran wild. When I did see films, which was very few and far between, that was such an interesting medium that was so new to me. It wasn't something that was just part of my life, so it was really appealing and so different that I enjoyed that.
If one has to conform to a certain taste, he/she might lose his/her own individuality and imagination. But if you don't really care about winning competitions and think of them as chances to learn from the experience, they would become good ways to learn about others and yourself. Competitions are also stages where one becomes known to the public.
Our imagination so magnifies this present existence, by the power of continual reflection on it, and so attenuates eternity, by not thinking of it at all, that we reduce an eternity to nothingness, and expand a mere nothing to an eternity; and this habit is so inveterately rooted in us that all the force of reason cannot induce us to lay it aside.
As human beings we have unlimited potential and imagination. The worst thing you can do is be a conformist and buy into conformity. It's the worst possible thing. It's better to be outrageous. It's better to hang out with the sages, the people open to possibilities, even the psychotics. You never know where you'll find the geniuses of our society.
Experimental architecture by its very nature is more prone to the depredations of time and natural elements than buildings made from conventional materials through traditional methods. Avant-garde architects often simply do not know how the products of their imagination will perform when implemented, especially if untested components are involved.
Among the English authors, Shakespeare has incomparably excelled all others. That noble extravagance of fancy, which he had in so great perfection, thoroughly qualified him to touch the weak, superstitious part of his readers' imagination, and made him capable of succeeding where he had nothing to support him besides the strength of his own genius.
What is distinctive about the U.S. is that higher education is under attack not because it is failing but because it is public. It is now considered dangerous because it has the potential to function as a site where a culture of questioning can operate, the imagination can blossom, and difficult questions can be openly debated and critically engaged.
Sentences are not different enough to hold the attention unless they are dramatic. No ingenuity of varying structure will do. All that can save them is the speaking tone of voice somehow entangled in the words and fastened to the page for the ear of the imagination. That is all that can save poetry from sing-song, all that can save prose from itself.
To grasp the full significance of life is the actor's duty; to interpret it his problem; and to express it his dedication. Being an actor is the loneliest thing in the world. You are all alone with your concentration and imagination, and that's all you have. Being a good actor isn't easy. Being a man is even harder. I want to be both before I'm done.
Narrative nonfiction was not my forte. I always wanted to let my imagination run free, and the facts sometimes got in the way. At one point I wanted to illustrate Jack Prelutsky's enchanting poems. Unable to do that, I started devising and improvising my own poems, very raw at first. I immersed myself in verse, writing reams of stuff until it gelled.
What is fantastic for me is that the Romantic movement comes out as a counter balance to everything that has been accumulating since the Age of Reason. I think the downfall of imagination as a genre or as a perception starts with the Age of Reason, which says everything else that came before us, all those superstitions, all those myths, are childish.
The dwarves of course are quite obviously, couldn't you say that in many ways they remind you of the Jews? Their words are Semitic obviously, constructed to be Semitic. Hobbits are just rustic English people, made small in size because it reflects (in general) the small reach of their imagination - not the small reach of their courage or latent power.
When you worry about something, you are using your immense power of imagination negatively. You are imagining the worst, and as you imagine the worst, you are bringing it to you. When you are excited about something, you are using your power of imagination positively. You are imagining the best, and as you imagine the best, you are bringing it to you.
The imagination ... that reconciling and mediatory power, which incorporating the reason in images of the sense and organizing (as it were) the flux of the senses by the permanence and self-circling energies of the reason, gives birth to a system of symbols, harmonious in themselves, and consubstantial with the truths of which they are the conductors.
With all the movies I've made about history, it's not really fun because you're trying to get it right. You've got history telling how it was, and then my imagination is telling me how I wish it had been, but I can't go there, so I have to censor myself. I'm very good about stopping myself from creating history that never occurred, but it's frustrating.
Our desires presage the capacities within us; they are harbingers of what we shall be able to accomplish. What we can do and want to do is projected in our imagination, quite outside ourselves, and into the future. We are attracted to what is already ours in secret. Thus passionate anticipation transforms what is indeed possible into dreamt-for reality.
So, too, if, to our surprise, we should meet one of these morons whose remarks are so conspicuous a part of the folklore of the world of the radio--remarks made without using either the tongue or the brain, spouted much like the spoutings of small whales--we should recognize him as below the level of nature but not as below the level of the imagination.
Of all literary exercitations, whether designed for the use or entertainment of the world, there are none of so much importance, or so immediately our concern, as those which let us into the knowledge of our own nature. Others may exercise the understanding or amuse the imagination; but these only can improve the heart and form the human mind to wisdom.
SF is an opportunity to have an intense relationship with your own imagination. It's a kind of drive-by poetry, trashy and addictive; it's fun. After that, for me, it's an opportunity to explore that kind of imaginative artifact from inside, and use a little camped-up contemporary science as a way of generating new metaphors around my typical obsessions.
Becoming a strategic thinker is about opening your mind to possibilities. It’s about seeing the bigger picture. It’s about understanding the various parts of your business, taking them apart, and then putting them back together again in a more powerful way. It’s about insight, invention, emotion and imagination focused on reshaping some part of the world.
When I was fifteen, a dark shape came into my room at night. It was dark, but it glowed, which is the first of many facts you will have to tackle with your imagination. It wasn't in the shape of a person, but right away I knew it was like a person in every way except for how it looked. As it turns out, our looks are not the main thing that makes us human.
When a poor disconsolated drooping creature is terrified from all enjoyment,--prays without ceasing 'till his imagination is heated,--fasts and mortifies and mopes, till his body is in as bad a plight as his mind; is it a wonder, that the mechanical disturbancesof an empty belly, interpreted by an empty head, should be mistook for [the] workings [of God].
Public image is extremely important in American society and I observed personally that the Presidency of John F. Kennedy did much in the public mind for Harvard. Harvard was an excellent school before Kennedy, but Kennedy embodied a new vision for the United States: a leader who caught the world's imagination and that reflected on his alma mater, Harvard.