Speaking of childhood fantasy, we were doing a Western, but we were also just hanging out. You work, and you ride and ride and ride, and then, for the next two hours, you look for a place to kick out, in this amazing canyon with so much heritage and so much history.
I have the same fantasy every time I read a book I love, no matter who wrote it, no matter when it was written. That the author has written his book only for me.
Most of the characters I play are heavily engulfed in some sort of fantasy world.
The best I do, if I'm just playing around and riffing in a fantasy world, and then I'll write something down. Hopefully I write it down.
Philosophy appears to concern itself only with the truth, but perhaps expresses only fantasies, while literature appears to concern itself only with fantasies, but perhaps it expresses the truth.
I don’t know anybody who doesn’t have a fantasy. Everybody must have a fantasy.
The essayist has to follow a certain intellectual pattern. The novelist has the advantage of using fantasy, of being subjective.
The way I write things, I just write them with a clash between reality and fantasy mostly. You have to use fantasy to show different sides of reality; it's how it can bend.
To dream alone is fantasy if it doesn't move the heart to act.
I lived out my little rock'n'roll fantasy, I just wish I hadn't gotten into so much trouble for it.
Hopelessness sets in, when a man is bound up in his shame -- living small, within that closed horizon of fantasy and self-absorption.
We believed we were safe. That was the big fantasy.
I am a Communist, a convinced Communist! For some that may be a fantasy. But to me it is my main goal.
As a kid, I loved any fantasy.
One man's fantasy is another man's job.
I define science fiction as the art of the possible. Fantasy is the art of the impossible.
Any idiot, any stockbroker can get out there and live out a fantasy and pretend like he's playing music. And I don't think there's anything wrong with that.
We're getting used to reality and fantasy passing into each other. Much of the border between them has been erased.
Imagine an American Hans Christian Andersen, conceive of the Brothers Grimm living in Missouri, and you will approximate Howard Schwartz, a fable-maker and fable-gatherer seduced by the uncanny and the unearthly. In Lilith's Cave, he once again reaches into a magical cornucopia of folklore and fantasy and spreads before us, in enchanting language, the marvels and shocks of dybbuks, ghosts, demons, spirits, and wizards.
I think the most important technique is to ground everything, to make fantasy world grounded and relatable, just great characters.