I know how to make films and now I'm able to make films with the resources and the tools that match my imagination, and what filmmaker doesn't want to do that? I feel very fortunate to have that. I don't take it for granted.
What I find difficult about Buddhism, though it is also one of its significant fascinations, is the focus on what is immediately and physically present. To me, this seems a denial of the imagination, and the imagination is very important to me.
I think [imagination] very austere element of Buddhism is also linked with a strong antinatalist strain in the philosophy. The Buddha was enlightened when he destroyed the house of body and soul into which he would otherwise have been forever reborn. This is clearly antinatalism.
The imagination is fertile. From seeds of the imagination, much is made manifest.
If we do overcome linear time, I would hope this means dwelling more directly in the fertility of the imagination rather than denying it, as some aspects of Buddhism seem to.
If your first Christmas tree is a wilting eucalyptus and if you're normally troubled by heat and sand... then, to have just at the age when imagination is opening out, suddenly find yourself in a quiet Warwickshire village, I think it engenders a particular love of what you might call central Midlands English countryside. Based on good water, stones and elm trees and small quiet rivers and so on, and of course, rustic people about.
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.
After Pope, in the beginning of Romanticism, people developed the idea that imagination rather than reason was a special form of knowledge and its best expression is through poetry. Therefore, poetry should not try to do the stuff that mere prose does: convey information or make arguments about ideas.
I've always believed that true cinema is cinema of the imagination.
The designation is useful and necessary and sometimes limiting but it is only limiting to people who think, for example, that African-American literature couldn't possibly be something they could be interested in or relate to. They have limited imaginations, which is sad.
Comics were a place where captivating images lit your imagination and showed you that you can create new kinds of people and worlds.
I believe strongly that Occupy Wall Street had such limits because the local authorities were able to enforce, basically in our imaginations, an image of what proper civil disobedience is - one that is simply ineffective.
More than fifty years ago Sputnik dramatically raised the nation's awareness of what was lacking in science and math education in America. What we need to wake people up to now is the crisis in imagination and concern for the greater good.
I am really the victim of other people's imagination.
Often I don't read novels. The script is more important, that's the springboard to your imagination, really. Peripheral information can be interesting to read but you can't use it when it's not in the script.
I think I'd rather do [acting] in the real place. It requires different things, working with green screen, but its an imaginative exercise anyway, the whole business of acting, so it just gives you a bit more to feed the imagination. Unless it's really silly, just two of you stuck in a space with nothing but green screen that's got to be pretty difficult.
I'm really the addition of other peoples' imagination, quite honestly. It's what they see me as, and I'm very happy to comply. I find things are more varied that way.
Working with the body and the imagination - non-verbal ways especially - tap into our deepest wounds and our highest potentials as humans.
For me, psychology and art interact and overlap in so many ways. Psychology is the study of the inner life and creativity comes from the imagination and a response to the environment, as you know. So they're both very similar in that way because it's about one's inner life interacting with the environment and what comes from that.
I have known know many therapists who come out of Pacifica Graduate Institute and love being both artists and therapists at the same time, like Maureen Murdock. They are photographers and dancers and other kinds of things and therapists at the same time. I think it really makes them a much more interesting therapist because they're so engaged with the imagination and the creativity and the depths of who they are.
Any sort of working drawings are simply diagrams. Architecture encourages your imagination to work that way.
It was really always about bringing back [James] Baldwin's words in all their rawness, in all their impact - in the way he analyzes not only this country but also the history of this country, the images that this country is fabricating through Hollywood, and what consequence that has in our imagination.
In our exterior life, we can be only one person. But in our imagination, we can be anyone, anywhere.
When we were kids, you picked up a little paper and put it on a stick; and when you waved it back and forth, you understood the power of air underneath the wings. In that way, a child begins to understand abstraction, poetry, metaphor, symbolism. You play with the materials you have and use your imagination to make them into something else. That what's so sad about having everything on a little screen - it's not physical and dimensional, and that seems backward.
For me, the subtlety of black and white inspires the imagination of the individual viewer to complete the picture in the mind's eye. It doesn't attempt to compete with the outside world. I believe it is calmer and gentler than colour, and persists longer in our visual memory.
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