On the tawny sands and shelves trip the pert fairies and the dapper elves.
This... is a synthetic world many of us live in today - a dream, if you will.
I loathe the trivialization of poetry that happens in creative writing classes. Teachers set exercises to stimulate subject matter: Write a poem about an imaginary landscape with real people in it. Write about a place your parents lived in before you were born. We have enough terrible poetry around without encouraging more of it.
What's amazing about 'Game of Thrones' is that it's set in a fantasy world; it's a fantasy story. So I always say that with the score, we're open to do whatever we want.
Say, it's only a paper moon, / Sailing over a cardboard sea.
Surely no one can be sure he has visited Cienega; people say to themselves, do they not: 'Was it a vision; or have I, some time or other, seen dusk in a valley like this?'
When a writer is already stretching the bounds of reality by writing within a science fiction or fantasy setting, that writer must realize that excessive coincidence makes the fictional reality the writer is creating less 'real.'
Even on a personal note, my dressing table downstairs is crowded with things, like a mini landscape. It's a city with buildings and towers and roads. There's a pool and a little park. When I move something around it becomes a different tableau.
If I leave the fictional world for too long, it's a bit like stepping through a portal, entering another reality, and then not knowing how to get back to where you were before.
We are kind of in a false reality here, playing football.
I always thought it would be cool to go to the island of misfit toys.
I don't have any specific plans to return to the 'Age of the Five.' If I do, it won't be a sequel.
My childhood bedroom had wallpaper that was printed with clouds and rainbows.
If you're creating a whole universe, even if it's a universe squeezed into a solar system, you have to use a little bit of sleight of hand.
I feel it's important to familiarize yourself with the world that the character inhabits.
My characters populate a big, vibrant world. Sometimes they rub shoulders. Sometimes they don't.
'Kraken' is set in London and has a lot of London riffs, but I think it's more like slightly dreamlike, slightly abstract London. It's London as a kind of fantasy kingdom.
'Swingers' was always set in another world.
When we came within sight of the sea, the waves on the horizon, caught at intervals above the rolling abyss, were like glimpses of another shore with towers and buildings.
My paintings always feature trails that dissolve into mysterious areas, patches of light that lead the eye around corners, pathways, open gates, etc.
