Quotes of All Topics . Occasions . Authors
As both a student of history and a man devoted to living in the present, I admit that I do not spend a lot of time imagining how things might otherwise have been. But I do like to think there is a difference between being resigned to a situation and reconciled to it.
I would pretend to be a dark-skinned princess in the Sahara Desert or one of the Bantu women living in the Congo... imagining I was a different person living in a different place was one of the few ways... that I could escape the oppressive environment I was raised in.
I used to imagine what it would be like to do what Jim Brown was doing. I used to imagine what it would be like to be like a Tony Dorsett. I used to imagine what it would be like to be like a Walter Payton. I was imagining Emmitt Smith doing exactly what they were doing.
When I talk to students or young writers about the importance of being unafraid to take controversial positions, I'm struck by the degree to which they can't entertain a thought, much less commit one to paper, without imagining the cacophony of snark they'll get in response.
I think growing up in such a small town - before cell phones, before the Internet, before Facebook, before we had access to people's interiors - there was a great deal of space between people's lives. I spent a lot of time imagining into the lives of the people I grew up with.
History does not repeat itself. Nor does it unfold in cycles. The real future is contingent, rich beyond imagining, a perennial gobsmack, tragic and glorious in equal measure; the pundits' future, spun of 'conventional wisdom,' is only a sucker punch to that common-sense fact.
As languages go, English is pretty user friendly. If you look at a tiny language spoken somewhere that most of us have never heard of, chances are it's going to be so complicated that you have a hard time imagining how people can walk around speaking it without having a stroke.
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.
As architects we are often involved in the concrete-steel-and-glass aspect of it, but cities are social structures, and to be involved in imagining the future of cities and the type of relationships and the types of places that we're making is something that intrigues me very much.
I always make things worse than they are or create problems that aren't there. And going and doing some simple task becomes a problem. I start imagining problems that aren't there. What people are going to think, who's going to judge me and am I going to be good enough? Am I worthy?
Imagining themes that are specific to coating lines, shapes, shades, thoughts, the decoration of our homes and the objects of utility or pure pleasure, adapting its purpose in a material-specific way to metal or wood, marble or fabric - it is, without any doubt, an absorbing occupation.
'Posh' is not really political. I didn't want to aim a brickbat at the system. Or to bash Old Etonians. It was always the class and privilege aspect of that world that I was most drawn to. There is something endlessly fascinating about imagining something you could never be involved in.
It's something I've enjoyed since being a kid, the fantasy of it, the imagining I'm someone other than who I am. I've always felt claustrophobic in one sense of identity. If anything, I've had to work to develop a sense of my own identity. I used to really hate it when people defined me.
When I'm singing, I can see so many people, and I can see their response and everything. And being somewhere like the Hollywood Bowl, I'm seeing those immediate people in front of me, but other than that, it's just dots, and I'm just imagining who's out there and imagining their responses.
When I started 'DailyGrace,' I was dating a 26-year-old guy I thought was the funniest person in the world. My creation process every day was imagining him watching my videos and wondering, 'Will he laugh at this?' But somehow that's turned into an audience that's mostly 15-year-old girls.
When I was a kid and my dad was playing for Man United, I used to stand behind the goal watching Eric Cantona, David Beckham, Paul Scholes, Mark Hughes, Andrei Kanchelskis, Ryan Giggs... and I used to try to save all their shots that went wide, imagining I was deciding the title for United.
I've never written a character that wasn't burdened by years of pain and trauma. Let's face it: Most comic-book heroes have some serious baggage. Not Green Arrow. He's a healthy guy - imagine that? Carrying your hero around in your head, imagining the world through his eyes, is just a hoot.
Scientists and philosophers tend to treat knowledge, imagination and love as if they were all very separate parts of human nature. But when it comes to children, all three are deeply entwined. Children learn the truth by imagining all the ways the world could be, and testing those possibilities.
As writers, we do our best to conjure a world so vivid that the reader can practically walk through it - but we're still only using words and relying on readers to do a lot of work of imagining. Providing pictures as well as words offers a whole new dimension to the experience of consuming a story.
When I get a beautifully written piece of material, I immediately start imagining how I would interpret it. I love just daydreaming about it for months, breaking it down, seeing where I can spin something. How I can turn this into the most fun ride for the audience that I can make it? That's my job.
When I was a kid I wasn't allowed to watch horror movies at all. And actually, one of the genesis points for 'Mandy' and 'Black Rainbow' was this memory I have of being in video stores, reading the backs of videos and looking at the art, imagining some kind of non-existent imaginary film based on that.
The story is a machine for empathy. In contrast to logic or reason, a story is about emotion that gets staged over a sequence of dramatic moments, so you empathize with the characters without really thinking about it too much. It is a really powerful tool for imagining yourself in other people's situations.
I had all kinds of fantasies, like a lot of girls, but did I actually go through the motions of planning a wedding and buying bridal magazines and imagining things and setting up who would play what role? No. Because as I grew up, I started to believe that I would be one of those gals that never got married.
Faith is the substance of hope - of things hoped for and the evidence of things not seen. So if you can hope for it and imagine it, and keep imagining and hoping and seeing yourself driving a new car, or seeing yourself getting that job, or seeing yourself excel, seeing yourself help that person - that is faith.
Every time I try to set something in Chicago, I get intimidated by 'Augie March.' It's easy to set something in Indianapolis - we don't have 'Augie March' here. But I love writing about Chicago, and I love being there and imagining lives in Chicago. I hope to set something there in the future, but it's intimidating.
I designed a theater magazine that was full of plays and essays about the theater, and then I worked at a theater school. By osmosis or something, I was learning from reading plays and not being analytical about them, but when I would read them, the joy in me was mostly from imagining them in my head and visualizing them.
As a journalist, I cannot help imagining with excitement a new era with a face-off between Hedi Slimane at YSL and Raf Simons at Dior - a magnificent battle of style and wills to echo the Armani/Versace, Gucci/Prada or even Chanel/Schiaparelli face-offs of earlier years. But I remind myself that this is not a game of chess.
Past middle age, some friends suggested that I should have my eyebags removed, the deepening creases on my face stretched. I often examined my face in the mirror, imagining how I'd look if I followed the suggestion. I decided to retain the old mug. I was too familiar and comfortable with it. And the final hindrance: the cost.
Begin noticing and being careful about keeping your imagination free of thoughts that you do not wish to materialize. Instead, initiate a practice of filling your creative thoughts to overflow with ideas and wishes that you fully intend to manifest. Honor your imaginings regardless of others seeing them as crazy or impossible.
When I was four I joined a group of girls who were talking about their party dresses. I thought they were imagining, so I imagined a fantastic pink velvet dress with lots of jewels. But they were simply describing what they actually wore, and they had utter contempt for my obvious fiction. After that, I never joined a group again.
It's funny - until 'Catfish,' none of my films were angled at young people except for the fact that they were angled at me and my contemporaries. And that's who I'm constantly making things for. I'm not imagining a younger audience I'm trying to impart wisdom to; I don't want to seem pretentious enough to think I can impart wisdom.
Eventually, when I got the 'Meadowland' script, I saw something in it that made me think I could make something special out of it, something that could work with my style. Emotionally, I connected to it. I thought, 'If I feel this way just imagining it, maybe we can make that happen on screen and make people feel something when they watch it.'