Magical Realism Quotes

As far as fiction goes, as far as everything from Dr. Seuss to Oscar Wilde to Bret Easton Ellis. Ray Bradbury. There's just tons of stuff that I love. Neil Gaiman!

If you build it, he will come.

The best fantasy is written in the language of dreams. It is alive as dreams are alive, more real than real, for a moment at least, that long magic moment before we wake.

Terry Gilliam has directed some of the best examples of what I like to see in a film - one of them being 'Baron Munchausen.'

Beneath the Sugar Sky' is an homage to the portal fantasies of my childhood: it is the portal running in reverse.

You believe in a book that has talking animals, wizards, witches, demons, sticks turning into snakes, burning bushes, food falling from the sky, people walking on water, and all sorts of magical, absurd and primitive stories, and you say that we are the ones that need help?

Willows whiten, aspens quiver, little breezes dusk and shiver, thro' the wave that runs forever by the island in the river, flowing down to Camelot. Four gray walls and four gray towers, overlook a space of flowers, and the silent isle imbowers, the Lady of Shalott.

Two fundamental literary qualities: supernaturalism and irony.

Every intentional act is a magical act.

The Company of Wolves doesn't belong in any category, so it's difficult to prepare an audience for it. It's not a horror film, it's not a fantasy film, it's not a children's film - so what is it?

Feeling that Peter was on his way back, the Neverland had again woke into life. We ought to use the pluperfect and say wakened, but woke is better and was always used by Peter.

Scientists have calculated that the chances of something so patently absurd actually existing are millions to one. But magicians have calculated that million-to-one chances crop up nine times out of ten.

I loved 'The Secret of NIMH.' When that came out, it felt like, 'Wow, this is something really, really new.' It looked like a Disney film, but it felt very cutting edge to me. To a twelve-year-old kid, it seemed very inspiring.

There is a heavy Mexican Catholic streak in my movies, and a huge Mexican sense of melodrama. Everything is overwrought, and there's a sense of acceptance of the fantastic in my films, which is innately Mexican. So when people ask, 'How can you define the Mexican-ness of your films?' I go, 'How can I not?' It's all I am.

Jeff VanderMeer's fiction has always been entrancingly, engagingly, enthusiastically weird, a winning combination of mimesis and the fantastical that privileges neither component: perhaps the very definition of that mode categorized as the 'New Weird' and exemplified most famously by the groundbreaking work of China Mieville.

'Cry Baby' is like this fairytale version of me. A lot of it is based on real events, and some of it is made up to make it more whimsical.

Longest book was '2666' by Roberto Bolano, and it was an irregular reading experience. I read the first four parts during a cross-country plane trip, reading at slightly slower-than-usual speed but surprised at how accessible the book was compared with 'The Savage Detectives.'

You know what I love about Haruki Murakami's books? He's so easy to read. You get three pages in and you have to finish the whole thing.

When I finished reading '100 Years of Solitude,' by Gabriel Garcia Marquez, I got really sad. I thought, 'This will never happen for me, for the first time, ever again.' Then I opened 'Beauty Is a Wound.' It's a completely different story and writing style, but it has a similar place in my heart now.

The popularity of fantasy surpassing science fiction and the popularity of apocalyptic fiction, particularly for young adults, may indicate a desire to escape a more difficult and confusing reality, even in astrophysics and particle physics.

Few contemporary artists mined the space between the ordinary and the strange better than Orozco did.

I find it ironic that happy endings now are called fairytale endings because there's nothing happy about most fairytale endings.

Gabriel Garcia Marquez is one of my all-time favorite writers. I feel spiritual when reading his words, even though they're translated. I wish desperately that I could read it in its original language. I already feel like I'm going to church when I read him; imagine if I could read it in the original.

There's a special gut-check moment the first time you write a scene in which somebody casts a spell.

I love Javier Marias; I love his novel 'Tomorrow in the Battle Think on Me.'