Quotes of All Topics . Occasions . Authors
For me, a great fantasy is real people, a world I recognise, human struggle and magic. You've got to have magic to make a fantasy work. But I like my magic to be subtle. I don't want magic coming out of the hands of wizards. I want it to be pervading, sinister somehow.
My imagination completely controls me, and forever feeds the fire that burns with dark red light in my heart by bringing me the best dreams. I've always had a wild imagination, a big heart and a tortured soul so I feel that dark fantasy, love and horror are in my blood.
I read fantasy books like the Harry Potter books, 'Twilight,' also biographies, and I like to read about people who have been through stuff like wars or lost their families - real life stuff, you know? I like to read about their experiences and how they coped with that.
I don't think there's any show comparable to 'Game of Thrones' in terms of the way it does the fantasy element to such a high standard: everything is created with so much care and detail. You really feel like you are transported into this entirely other fictional place.
Say there's a white kid who lives in a nice home, goes to an all-white school, and is pretty much having everything handed to him on a platter - for him to pick up a rap tape is incredible to me, because what that's saying is that he's living a fantasy life of rebellion.
What I'm working on now - I'm back to fantasy, although considering that it's me, I'm turning it into a kind of science fantasy. It's a vampire story - but my vampires are biological vampires. They didn't become vampires because someone bit them; they were born that way.
Memory depends mainly upon myth. Some even occurs in our minds, in actuality or in fantasy; we form it in memory, molding it like clay day after day - and soon we have made out of that event a myth. We then keep the myth in memory as a guide to future similar situations.
I loved fantasy, but I particularly loved the stories in which somebody got out of where they were and into somewhere better - as in the 'Chronicles Of Narnia,' 'The Wizard Of Oz,' 'The Phantom Tollbooth,' the 'Dungeons & Dragons' cartoon on Saturday morning in the '80s.
Growing up as a queer child in Mississippi, I got my Nintendo in 1985, and I've been lost in this world ever since. When I was scared because my church said people like me were going to burn in hell, 'Final Fantasy,' 'Dragon Warrior' and 'Super Mario' offered a lifeboat.
When I was at college, the idea of fashion was more immediate to me, whereas art photography, the depth of it, was a different thing. Storytelling - fanciful storytelling - can only be told through fashion photography. It's the perfect way to play with fantasy and dreams.
Fantasy encompasses a wide, wide spectrum of writing. We have beast fables, we have gothics, we have tales of vampires and werewolves, and we have sword and sorcery; we have epics from Homer, and there is just so much out there that we put under the umbrella of 'fantasy.'
Fantasy is the tendency of Americans, going back to colonial times, to look at the Middle East as a type of fractured mirror of the United States - a type of mirror that could look a lot more like the United States, if, say, a Middle Eastern George Washington would emerge.
Our investigation has found that, unlike traditional fantasy sports, daily fantasy sports companies are engaged in illegal gambling under New York law, causing the same kinds of social and economic harms as other forms of illegal gambling and misleading New York consumers.
My fantasy breakfast is just a really good egg scramble. Maybe I'll add a little feta, so, uh, obviously not totally dairy-free. Definitely some vegetables, maybe some really nice tortillas; something to make it like a Mexican-style breakfast. I just really love breakfast.
While girls average a healthy five hours a week on video games, boys average 13. The problem? The brain chemistry of video games stimulates feel-good dopamine that builds motivation to win in a fantasy while starving the parts of the brain focused on real-world motivation.
I read a lot of fantasy. I adored 'Anne of Green Gables'. But my favourite books as a child were probably Laura Ingalls Wilder's 'Little House' series, about a pioneer family in the mid-19th-century American west. I often thought of them as I was writing 'The Last Runaway'.
Basically, Urban Fantasy means D&D in New York. Ordinary people have no idea that they share the world with fantastic, supernatural creatures. It can't just be vampires or werewolves; it has to be a whole continuum of fantastic beings, with their own society within society.
'Daughter of Smoke and Bone' is one of my all-time top YA fantasy trilogies, so I was a little nervous about reading 'Strange the Dreamer.' Of course, I shouldn't have been worried because Laini Taylor immediately grabbed me by the proverbial lapels and refused to let me go.
I started making houses for ants because I thought they needed somewhere to live. Then I made them shoes and hats. It was a fantasy world I escaped to where my dyslexia didn't hold me back and my teachers couldn't criticize me. That's how my career as a micro-sculptor began.
'Dawn of the Planet of the Apes,' while not nearly the masterpiece proclaimed by many critics, is certainly a fascinating cross-species: a big-budget summer action fantasy with a sylvan, indie-film vibe, and a war movie that dares ask its audience to root for the peacemakers.
Slipstream fiction is usually defined as fiction with a contemporary setting in which story elements are mimetic (that is, seem real) - except for one or two eerie strangenesses. Unlike outright fantasy, these are not explained or integrated into an alternate-reality setting.
You know, I said I have this problem that I need to more carefully read Akron's text because it's too much, too much fantasy, and so I am busy with other stuff - it's funny, it's nice to hear that someone is studying that carefully and now I know a little bit more about that.
Looking at it, I started crying. Maybe it was knowing that I had to give up the fantasy, the enormous life consuming fantasy , that someone or something was going to do this for me – the fantasy that someone was coming to lead my life, to choose direction, to give me orgasms.
I think Direct Cinema's trying to be insightful by looking at reality in a very close way while, in fact, much more is staged than we like to think. In cinema verite, it's about trying to make something invisible visible - the role of fantasy and imagination in everyday life.
You can't have whatever you want. But to a child who must ask permission for every single thing, adulthood looks like a constant parade of every desire's satisfaction. It is a heady and terrifying place. It is the Otherworld. It is Fairyland. In fantasy, we make this literal.
The funny thing is all these school shootings that we have, always happen in very religious communities. Maybe it's because the centre of their lives is a big fat nothing and it's just a fantasy and there's nothing there. I think maybe that might have something to do with it.
The idea of a family sitting round the kitchen table and carefully planning their future family size based on the certainty of years to come is a complete fantasy. Back in the real world, jobs are lost, livelihoods taken away, families break apart, partners leave or pass away.
And what I like about it is it makes me happy and I think it makes a lot of people happy to go to the movies and to not think about the problems of the day or the problems of tomorrow or the yesterday and just go on for the ride and have the fun of losing oneself in a fantasy.
A weakness of many of the self-oriented play theories is that they often sound too much like vain consumerism instead of being about the more passionate and willful character of human play, which involves a willingness, even if a fantasy, to believe in the play venture itself.
My story reflexes come less from fantasy or horror than from the darker sort of psychological thriller - not as plot-driven as most, rather more mood-driven. My interest in the supernatural is a complication - though I am less interested in ghosts than in people who see ghosts.
My wife, Lisa, and I both grew up on wuxia - Chinese historical romances. They're kind of analogous to Western epics. They're based on history, just like 'the Iliad' and 'the Odyssey' are based on history, but they're romanticized, and a lot of fantasy elements have been added.
Some of us are interested in directors, but really the vast majority of us are interested in actors. You experience the films through the actors, so they're all locked into your imagination in some kind of layer of fantasy or hatred or wherever they settle into your imagination.
There is no winning or losing, but rather the value is in the experience of imagining yourself as a character in whatever genre you're involved in, whether it's a fantasy game, the Wild West, secret agents or whatever else. You get to sort of vicariously experience those things.
I think as women we've always been very used to growing up reading and identifying with male protagonists, especially in fantasy. There's a saying in publishing that girls will read about boys, but boys will only read about boys, and it's important to give women strong heroines.
Researching real history has taught me to be bolder and more imaginative in building fantasy worlds and writing fantasy characters, to seek out the margins of history and the forgotten tales that illuminate the whole, complex truth of our flawed yet wondrous nature as a species.
A good writer should be able to write comedic work that made you laugh, and scary stuff that made you scared, and fantasy or science fiction that imbued you with a sense of wonder, and mainstream journalism that gave you clear and concise information in a way that you wanted it.
Later, however, I came to recognize the objective nature of these dreams or fantasies ... Thus it was that I gradually came to acknowledge that such fantasies or dreams are neither meaningless nor purely arbitrary but rather convey a sort of "second meaning" of the terms applied.
I tried almost every genre. I decided at 14 I wanted to be a writer. I think I had to wait until they invented word processors to get serious about it, but I really tried every genre, and fantasy was the one that gave me the scope to do the most... you could play with worlds more.
It was always a dream as I was growing up. I would watch movies, mostly American movies, and be so engrossed in those stories, all I wanted to do was be there. I wanted to be part of that romance or that fantasy or be that warrior or that struggling soul who finally makes it good.
I don't try to sanction other people's joy in monsters. I mean, I think the fact is, humor, fantasy - you know, like fear, desire or laughter - create genres of their own: comedy, melodrama, or erotic films or horror films... The boundaries cannot be defined. It's to each his own.
Read everything! Don't just read things that are in your comfort zone or things that you think you're already going to like. Experiment; try new stuff and try new genres. If you read a lot of romance, then start reading mystery. If you read a lot of mystery, start reading fantasy.
The more that you travel the more you get the sense of the word as a larger place and the more you get a sense of the variety of history and mythology. And when you know about these things you can incorporate them into what I feel is a more rich and more large tapestry of fantasy.
I don't think I've ever not had a dark side. But one of the wonderful reasons why you go into this business is that half your life you live in a fantasy, which is somebody else's life. It's actually a great release because you're not having to deal with the itty-bitty bits of life.
In high fashion, we're always accused of doing things that are not very relevant, not the real world. I know that it's important sometimes to do fantasy, but I felt like touching people and going back to different women and men, especially the idea of different ages and body shapes.
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.
I think that it's interesting how shows like 'Walking Dead' or even 'Game of Thrones,' with all its fantasy elements, have become so popular. Sometimes, though, I get a little bit annoyed because the whole nerd thing taking over and is now cool, and it wasn't cool when I was younger.
I'm not saying that 'Twilight' is, you know, some brilliant Oscar-winner, it's not 'Dr. Zhivago.' It's not trying to be. Because it is a female fantasy. I would argue that it's actually a universal fantasy. Which is, the fantasy being to be loved and cherished for exactly who you are.
With a fantasy world, it's like, this is my world. I literally made it. So if I tell you something, you do have to sit back and observe more. You need to sit back and listen more to understand what is going on or what's happening in the world. And I think there's a lot of power in that.
There are so many stories to tell in the worlds of science fiction, the worlds of fantasy and horror that to confine yourself to even doing historical revisionist fiction, whatever you want to call it - mash-ups, gimmick lit, absurdist fiction - I don't know if I want to do that anymore.
I found 'Bordertown' when I was standing on the border between childhood and my teens, and it carried me past that transition. In the process, it helped to create the next step of its own evolution: the modern urban fantasy owes a lot more to 'Bordertown' than many people will ever know.