We will not, therefore, lose our time praying to an imaginary god for things which our own exertions alone can procure.
There is an imaginary circle drawn around every human being, over which no government should be able to step.
Along the way, female filmmakers will have the feeling that they're not good enough. And that's really just a result of being "otherized" from the moment they're born. Keep an eye out for all those insecurities, and even expect them. Borrow white male privilege and just move through the world as if it was created for you. You have to kind of talk yourself into an imaginary space where the world is on your side and expects you to speak and wants you to speak. You have to create that space for yourself over and over again. Every hour sometimes.
I have to be able to shake my imaginary life from my real life when I walk through the door with my children who immediately need a lot from me. It's actually kind of a relief, especially if it was a dark day on set.
I never had an imaginary friend, just imaginary circumstances. I was so into the Indiana Jones movies and I would constantly reenact circumstances. I broke my left arm three times, two of which were me trying to be Indiana Jones.
Nonfiction brought me back to earth and sobered me up whenever it seemed like I'd become too drunk on the lives and loves of imaginary people, but that doesn't mean it was any less thrilling or transporting, although it was often more illuminating.
As a friend of mine, herself a writer, says, 'People who spend the most meaningful hours of their lives in the exclusive company of imaginary people are apt to be a little strange'
The irruption of the supernatural into our world is a much more enticing notion to explore than the same thing happening in some past time, or in a wholly imaginary world.
Religion is unusual among divisive labels in being spectacularly unnecessary. If religious beliefs had any evidence going for them, we might have to respect them in spite of their concomitant unpleasantness. But there is no such evidence. To label people as death-deserving enemies because of disagreements about real world politics is bad enough. To do the same for disagreements about a delusional world inhabited by archangels, demons and imaginary friends is ludicrously tragic.
In the native literatures of North America there aren't any novels. Instead, the major genre is myth. And myths are stories that are fundamentally about the world, not about human individuals. A myth needn't include any humans at all. If it does include them, they're usually minor characters - imaginary humans sent out like scouts to report back on what's happening in the mythworld, but not central participants in the action.
Even a simple imaginary exercise can change your mood: Close your eyes, and take yourself back to your last holiday where there was a lovely warm sun, beautiful sea, relaxed beach and fun meals in the evenings. Open your eyes and consider how you feel now.
Many of our threats are imaginary. The habits and even obsessions that we develop to keep them away are destructive and undermine our moods constantly.
If you're going to war over religion, now you're just getting into a fight over who has the better imaginary friend.
There was a big age difference between me and my brothers - about 10 years - so I was an only child for a long time. I used to hang out a lot on my own. I played a lot of weird games with a lot of imaginary people. I guess it's kind of roleplaying.
I like to mix the real and the imaginary. Sometimes it is characters inspired by real people I know or know of. Sometimes it is a named person from the common cultural dreamscape. And it is tricky, because they have a lot of associated ideas that come with them, and a lot of actual facts.
What makes globalization even possible in the first place? One answer would be that it requires the regularization of some kind of media and communication infrastructure. When you have that, you might get globalized economic trade within some political or imperial framework, but it is likely you'll get transnational cultural flows as well. Globalizing trade can lead to a cosmopolitan culture, but also to all sorts of nationalistic or racist or patriarchal reactions to those as breaches of imaginary communities.
We had similar interests with Derek Rowan and Paul Hewson; it sounds really pretentious at 12, 13 year old kids were like into art and poetry, but we were. We weren't into football, we were into making music or being into music and painting and stuff like that. And we called this sort of little gang Lypton Village and we made up imaginary games and this is one day we'll form bands and one day we'll make movies and one day we'll do this and one day we'll do that. A lot of kids do this in their own way, except 25, 30 years later legend happens because some of us have become quite well known.
The content of the ideal is a desire to return to the perfection of an imaginary past.
Our nostalgic dreams of perfection thrive just as dangerously in the other direction too, in the imaginary future, that bold and tantalizing future where the troubles of today will be cured by a tomorrow, and all our losses will be recouped, our problems solved, our lives restored, our people made whole again, etc.
What the nostalgic past and the imaginary future seem to share in common is a form of idealism, perhaps a dream of wholeness. Our future is just as goopy with sentiment as our past. To me, they're the same, both very tempting, and I don't believe in either, although the idealism is probably important.
When I start writing a new imaginary future, I have no idea what it is. The characters arrive first. They help me figure out where they are living and I get to fill in the gaps with that and where we are. So when I get to the end of the process of composition, if I feel that I have really done my job, I have no idea what I've got - and I then spend essentially the rest of my life figuring out what it might mean.
I'm asked all the time, "Doesn't it feel great to finish the novel?" And the answer to that is, "No." It's sort of a loss to stop a 10-year project, which is an imaginary project in the sense that it's a work of my imagination. The people who I've lived with for 10 years in my imagination are now sort of defunct. To lose them is rather a mournful process - it's not a relief.
For any artistic person who creates imaginary people, the art is like inhabiting the life and mind of a seven-year-old child with imaginary friends and imaginary events and imaginary grace and imaginary tragedy. Within that alternate universe, the characters do have quite a bit of free will. I know it's happening in my mind and my mind alone, but they seem to have their own ability to shape their destinies. So I'm not shooting for anything. If the characters are vulnerable it's simply because they're very human.
When I was a kid, I was always going to bed creating a story and that was the birth of filmmaking for me. I would like going to the dream-state by telling the story to someone else in my mind. That was my imaginary friend; it was an imaginary audience listening to my story.
A character does seem to have a life of its own, but I have what I'd describe as a very fluid relationship with them - as I'm thinking of what they will be like, they shift in and out of focus - they are a projection of some idea inside of me, even if a character is inspired by an actual person, I'm well aware that it is not that person. My job is to identify the essence of the character, and to bring them to life long enough to commit the acts, say the words or simply "be" in a way that allows them to affect and be affected by other elements and events in the imaginary world of a story.
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