Quotes About Fantasy

All real fantasy is serious. Only faked fantasy is not serious. That is why it is so wrong to impose faked fantasy on children.

I don't really deal with the attention I receive to be honest. I build up a fantasy world around me that I inhabit. I cherry pick elements of literature, music, film, history and art, then weave them together to construct a fantasy reality to live in. It doesn't always work out though, I got evicted from my own fantasy once, which was quite embarrassing.

Back in middle school, Catherine and I had gone through this stage where all we would read were fantasy books. We'd consume them like M&M's, by the fistful, J.R.R. Tolkien and Terry Brooks and Susan Cooper and Lloyd Alexander. Susan Boone looked, to me, like the queen of the elves (there's almost always an elf queen in fantasy books). I mean, she was shorter than me and had on a strange lineny outfit in pale blues and greens.

My fantasy football team got mixed up in another fantasy and now they're stuck on a pirate ship with a chick in a Catwoman suit.

While every new fantasy author is hailed as unique, new, and different, Brandon Sanderson's ELANTRIS does indeed provide an absorbing adventure in a unique, different, and well-thought-out fantasy world, with a few nifty twists as well.

It is easy to imagine fantasy as physical and myth as real. We do it almost every moment. We do this as we dream, as we think, and as we cope with the world about us. But these worlds of fantasy that we form into the solid things around us are the source of our discontent. They inspire our search to find ourselves.

There are lots of imposters in this earth, and to very first there always comes a second, to every reality there always come a fantasy, and the fantasy wants to come and live the life of the reality

Better the hard truth, I say, than the comforting fantasy. And in the final tolling it often turns out that the facts are more comforting than the fantasy.

A lot of people feel like urban fantasy is a shortcut that gets you around world-building, because it's set "in the real world." But it doesn't really work that way, as I found out. You have to come up with just as consistent an internal cosmology and magic system as you would if you were writing high fantasy.

I'm a fantasy guy. So I brought the fantasy element to the Riddick, David Twohy brought the sci-fi, and it came together.You see that in every aspect of the film.

I believe there is no part of our lives, our adult as well as child life, when we're not fantasizing, but we prefer to relegate fantasy to children, as though it were some tomfoolery only fit for the immature minds of the young. Children do live in fantasy and reality; they move back and forth very easily in a way we no longer remember how to do.

Most of our difficulties, our hopes, and our worries are empty fantasies. Nothing has ever existed except this moment. That's all there is. That's all we are. Yet most human beings spend 50 to 90 percent or more of their time in their imagination, living in fantasy. We think about what has happened to us, what might have happened, how we feel about it, how we should be different, how others should be different, how it's all a shame, and on and on; it's all fantasy, all imagination. Memory is imagination. Every memory that we stick to devastates our life.

Fantasy fans are incredibly loyal and passionate. Other people don't want to be seen as passionate about things, they want to be cool and laconic. The great thing about fantasy fans is they'll really get behind a show.

... fantasy is not practice for what is real—fantasy is the opiate of women.

Teen problem novels? I can go through them like a box of chocolates. And there are fantasy books out now that need a lot more editing. Fantasy got to be so popular that people began to think 'We don't need to be as diligent with the razor blade,' but they do.

I came to fantasy fairly late. For some ten years, I had been happily writing fiction and non-fiction for adults. But I always loved fantasy, whether for adults or young people; and at that particular point in my life, I wanted to try it, to understand it, as part of the process of learning to be a writer. The results were beyond anything I could have foreseen. As I've said often and elsewhere, it was the most creative and liberating experience of my life.

Children’s literature must build a bridge between the colorful dream world full of fantasy and illusion, and a tougher real world full of twists and turns. The child armed with the torch of knowledge, awareness and guidance must cross this bridge and set foot to the intense harshness of the bigger world.

I was always really drawn to that fantasy world, more than a sci-fi world, in terms of outer space stuff. I think it's so cool.

I enjoy acting when you really hit it right. And I guess I've always had too much fantasy to be only a housewife.

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.

No fiction, no myths, no lies, no tangled webs - this is how Irie imagined her homeland. Because homeland is one of the magical fantasy words like unicorn and soul and infinity that have now passed into language.

If there's any kind of morality, for me, it's about reality; what is reality? I have a hard time distinguishing what is valuable when it comes to the real world and the fantasy world. Like, should I invest my time in the ordinary world or the imaginary world?

Paradoxically, in fantasy for young people I was able to express my own deepest feelings and attitudes more than I had ever done in writing for adults.

Film buffs who don't live in Hollywood have a fantasy about what it's like to be a director. Movies and the people who make movies have such glamour associated with them. But the truth is, it's not like that. It's very different. It's hard work.

Unless we are willing to escape into sentimentality or fantasy, often the best we can do with catastrophes, even our own, is to find out exactly what happened and restore some of the missing parts.

Initially it was a fascination for Tolkienesque Fantasy, and role-playing games, with time I realized that it was the mythological elements that fascinated me the most, so I moved more and more in that direction.

Imagination doesn’t just mean making things up. It means thinking things through, solving them, or hoping to do so, and being just distant enough to be able to laugh at things that are normally painful. Head teachers would call this escapism, but they would be entirely wrong. I would call fantasy the most serious, and the most useful, branch of writing there is. And this is why I don’t, and never would, write Real Books.

I have a recurring fantasy that one more article has been added to the Bill of Rights: the right to free access to imagination.

I loved the world of Oz. I guess as a young man, I was just drawn to fantasy worlds. I liked being transported to alternative realms where a lot of my early imagination was sparked.

The primordial image, or archetype, is a figure--be it a daemon, a human being, or a process--that constantly recurs in the course of history and appears wherever creative fantasy is freely expressed. Essentially, therefore, it is a mythological figure. . . . In each of these images there is a little piece of human psychology and human fate, a remnant of the joys and sorrows that have been repeated countless times in our ancestral history. . . .

For me, the sketching of dresses was about fantasy and dreams. In my little room at home, I felt that I was somewhere else. In Paris, for instance.

The Lord of the Rings movie set an entirely new standard for fantasy in the movies.

The minute I forget to balance reality with the fantasy, I'm going back to Virginia.

I loved 'Pan's Labyrinth.' It transported me into another world. I like fantasy worlds; I love 'Lord of the Rings' as well, for that reason, because you really get to get out of reality and go somewhere else.

There is nothing I can't do writing in Fantasy. I can have romance, I can have mystery, I can have drama, I can have good characters - I can have everything you can do in any other genre... plus a dragon.

In a strange city, I connect through food and fantasy.

People are distracted by objects of desire, and afterwards repent of the lust they've indulged, because they have indulged with a phantom and are left even farther from Reality than before. Your desire for the illusory is a wing, by means of which a seeker might ascend to Reality. When you have indulged a lust, your wing drops off; you become lame and that fantasy flees. Preserve the wing and don't indulge such lust, so that the wing of desire may bear you to Paradise. People fancy they are enjoying themselves, but they are really tearing out their wings for the sake of an illusion.

More than fantasy or even science fiction, Ray Bradbury wrote horror, and like so many great horror writers he was himself utterly without fear, of anything. He wasn't afraid of looking uncool - he wasn't scared to openly love innocence, or to be optimistic, or to write sentimentally when he felt that way.

...You believe that the kind of story you want to tell might be best received by the science fiction and fantasy audience. I hope you're right, because in many ways this is the best audience in the world to write for. They're open-minded and intelligent. They want to think as well as feel, understand as well as dream. Above all, they want to be led into places that no one has ever visited before. It's a privilege to tell stories to these readers, and an honour when they applaud the tale you tell.

There's no free lunch. If you want an industrial economy, you need energy. If you want energy, it will produce pollution. You can have it in two forms. You can have it dissipated in the atmosphere - like carbon dioxide - which then you cannot recover, or you can have the waste concentrated in one small space like nuclear. That is far easier to deal with. The idea that you can be able to create renewable energy at a price anywhere near the current price for oil or gas or coal is a fantasy.

The culture of celebrity has become insane. It's all based on fantasy, and I find it creepy and disturbing.

Horror, for me, has to involve some sort of fantasy. Horror is something that is in your dreams or your nightmares.

Young people are having a hard time with what's reality and what's fantasy these days...We created discussion. It wasn't to create controversy for sale's sake, but rather it was my obligation to use the medium for discussion. Nobody's discussing the grown-up topics; they are faking and fronting.

This mindless tolerance, which places observable scientific facts, subject to proof, on the same level as unprovable supernatural fantasy, has played a major role in the resurgence of both anti-intellectualism and anti-rationalism.

The censors don't bother with fantasy books, especially old ones. They can't understand them. They think it's all kids' stuff. They'd die if they knew what The Chronicles of Narnia were really about.

The subtlest change in New York is something people don't speak much about but that is in everyone's mind. The city, for the first time in its long history, is destructible. A single flight of planes no bigger than a wedge of geese can quickly end this island fantasy, burn the towers, crumble the bridges, turn the underground passages into lethal chambers, cremate the millions. The intimation of mortality is part of New York now: in the sound of jets overhead, in the black headlines of the latest edition. (Written in 1949, 22 years before the World Trade Center was completed.)

It's better to have the faith to embrace reality with all its pain than to cling to the false comfort of a painless fantasy.

Many white-collar workers are lucky enough to have creative-class jobs that are satisfying, which is great as long as you're still able to carve out true, work-free leisure at some point. But there's been a kind of sneaky reframing of work as play as the Silicon Valley model has been imported into other fields. Now you see adult offices that look like nursery schools, and staff paintball parties, work cultures that encourage the "We're a family here!" fantasy while preventing workers from going home at a reasonable hour to be with their actual families.