Quotes About Fantasy

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.

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.

Lyra learns to her great cost that fantasy isn’t enough. She has been lying all her life, telling stories to people, making up fantasies, and suddenly she comes to a point where that’s not enough. All she can do is tell the truth. She tells the truth about her childhood, about the experiences she had in Oxford, and that is what saves her. True experience, not fantasy - reality, not lies - is what saves us in the end.

The poet is in command of his fantasy, while it is exactly the mark of the neurotic that he is possessed by his fantasy.

I really wanted Rachel [from the Girl on The Train] to be purely fixated on fantasy and on her ex-husband.I didn't want her to be embarking on romance, touching people; I wanted her purely in the realm of fantasy and frustration and dreaming and sadness.

Everybody has their own America, and then they have pieces of a fantasy America that they think is out there but they can't see. So the fantasy corners of America seem so atmospheric because you 've pieced them together from scenes in movies and music and lines from books.

I was in the fantasy. I was selling myself on the fantasy as I was doing it. It never occurred to me. I did take notes, but just because I am a writer. I've been a writer since I was five. You don't have any sort of outlandish, shocking, extraordinary, horrifying experience without writing it down, because I know and knew that you forget things. No matter how outrageous and amazing and extraordinary and seemingly unforgettable an experience is, it's kind of like a dream. It will erode inevitably, for me.

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 live in New York now, and miss France quite a bit. Of course, the reality of living in a small village in the south of France was very different than the fantasy I had of living in France. Over the years I spent there, that fantasy was worn away and I found a more realistic version of France than the one I began with. I wouldn't say the spell ever goes away, but transforms. Now that I understand French culture more intimately, and speak fluent French, I have a different, more solid, relationship to the country.

Fantasy consists in a morbid fascination with unrealities, which secretly transforms itself into a desire to make them real. Imagination is a form of intellectual control, which presents us with the image of unrealities in order that we should understand and feel distanced from them. In imagination we dominate; in fantasy, we are dominated.

I'm not implying that fantasy is for kids. I'm saying that more and more people are finally realizing that there's more to fantasy stories than elves and wizards and goblin armies.

Once it's established that we are a team, I can demand of you and expect you to demand of me. Life without pain is an addiction and the fantasy of perpetual happiness is like the "delusion of fusion."

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

I have been a reader of Science Fiction and Fantasy for a long time, since I was 11 or 12 I think, so I understand it and I'm not at all surprised that readers of the genre might enjoy my books.

The most common criticism that I've seen is that I write "popcorn fantasy": lightweight action-adventure. Some people call it that as they explain why they love it for exactly that reason. I'm cool with that, either way. I just nod and let it go.

There are movies that require fantasy and slightly more fantastical acting. Lines that are good for certain movies, in real life circumstances, would be absolutely unbelievable things to really say, and you would look at these people like they're freaks for conversing that way. But somehow for certain styles of movies, it works, and it seems fine.

I try not to do the fantasy thing. If I didn't get hurt, what would I be? Who knows? When I look back on my career, from the hard work I put in, I got everything I deserved.

I've always been really drawn to that kind of sexual earthiness in European women, and Sophia Loren covered all the bases, including the whole mummy fantasy.

Advertising reaches out to touch the fantasy part of people's lives. And you know, most people's fantasies are pretty sad.

What I personally gravitate toward tends to be fantasy, medium dark - not too dark - fairy tales and sci fi. Stop-motion takes something on the page thats really dark and adds a little sweetness to it, a living toys realm.

My real life’s not like the fantasy Tom Ford world – with naked girls pouring perfume everywhere. It’s more staying in and watching Friends on television.

If only simplicity were not the most difficult of all things. It consists of watching objectively the development of any fragment of fantasy.

... everything written is at least in part fantasy. Except maybe the national budget. That's horror.

Everybody has their own America, and then they have pieces of a fantasy America that they think is out there but they can't see.

My advice to aspiring writers of fantasy trilogies or series is that each book needs two main plots. There's the 'big story', the over-arching grand plot of the entire series, and there is the complete-in-itself, one-book plot.

Part of the particular interest and beauty of science fiction and fantasy: writer and reader collaborate in world-making.

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.

If you're going to go into the movie business it is so full of heartbreak and you get so close and it doesn't happen and then once in a while it works out and it is the fantasy, like it is that dream. So riding the highs and lows of it you got to have an iron constitution and you got to be able to do what David Dinkins actually one said - "Well you know some days are good, some days are bad, but anytime there is a bad day I know the next day is going to be good and vice versa, so you just can't put too much stock in that moment."

Fantasy mirrors desire. Imagination reshapes it.

The creative writer does the same as the child at play; he creates a world of fantasy which he takes very seriously.

How can we not create a fantasy in our minds when the reality is so hard?

A comic book is the opposite of a cartoon. In a cartoon, you want to simplify the idea, so when they look at it at a glance, they get it. Boom. Simple. Direct to the point. But when you're drawing Groo, now it's a narrative, a story. You want the viewer to get involved in the story. You want him to feel like he's in the town to follow your main character. So I love to add lots and lots of things in it. Things that people will enjoy going back to and say, "Oh yeah, that's how a market must have looked in this fantasy world, with people selling meat here and dishes here."

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

How dare the embodiment of her worst nightmare come packaged as her hottest fantasy?

I had a fantasy that i'd drift up to Scotland and spend my life as a faux bodhisattua.

Entourage' is a great show, but it's fantasy. I spent my twenties in L.A. in this business, and my life didn't look anything like that. 'Big Bang' reflects a side of men that is rarely shown. We see their flaws - all of them.

It wasn't my childhood fantasy to work with Truffaut or be in obscure films. I like Midnight Run better than I like The Bicycle Thief. It was films like Die Hard and Bladerunner that made me want to be an actor.

When I was growing up and wanted to be a musician, the fantasy that I had of what the music industry was is so wrong.

There's a big overlap with the people you meet at the fantasy and science fiction cons.

In any case, do you really think kids even want something that is relevant to their daily lives? You think something practical like compound interest is going to get them excited? People enjoy fantasy, and that is just what mathematics can provide - a relief from daily life, an anodyne to the practical workaday world.

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

I do not think we will see a stateless society in my lifetime. But I am sure we will not see a state that conforms to the minarchists' ideals. The closer we get, the better, but I see no reason not to aspire for the best government as Thoreau imagined it: none at all. It's certainly more consistently idealistic than what the minarchists imagine, and yet it's at least possible, whereas the existence of a lasting, minimal state is a hopeless fantasy.

I have to go with what comes naturally to me. Fantasy isn't my thing. I did enjoy the Oz books when I was growing up and certainly my grandson and I read Harry Potter together. You write what you can as well as you can.

Better the hard truth, I say, than the comforting fantasy.

Here we observe the basic obsessive fantasy of Žižek's position: do nothing, sit still, prefer not to, like Melville's Bartleby, and silently dream of a ruthless violence, a consolidation of state power into one man's hands, an act of brutal physical force of which you are the object or the subject or both at once.

And with listening, too, it seems to me, it is not the ear that hears, it is not the physical organ that performs the act of inner receptivity. It is the total person who hears. Sometimes the skin seems to be the best listener, as it prickles and thrills, say to a sound or a silence; or the fantasy, the imagination: how it bursts into inner pictures as it listens and then responds by pressing its language, its forms, into the listening clay. To be open to what we hear, to be open in what we say. .

Contrary to a tenacious myth, France is not owned by California pension funds or the Bank of China, any more than the United States belongs to Japanese and German investors. The fear of getting into such a predicament is so strong today that fantasy often outstrips reality. The reality is that inequality with respect to capital is a far greater domestic issue than it is an international one.

I just like that balance of the real and the fantastical because as a reader and consumer of stories and fantasy, I always want to feel like I can find that world.