A Quote by Dean Devlin
'Stargate' was more a fantasy.
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I really wish that peoplewould just say, 'Yes, it's a comic. Yes, this is fantasy. Yes, this is Science Fiction,' and defend the genre instead of saying, 'Horror is a bit passe so this is Dark Fantasy,' and that' s playing someone else's game. So that's why I say I'm a fantasy writer and to hell with 'It doesn't read like what I think of as a fantasy'. In that case what you think of as a fantasy is not a fantasy. Or there is more to it than you think.
'Stargate' has always had this empty hole. When we made the first one, we always intended on doing part two and three, and we were prevented for years. And our hope is that we can get another chance at 'Stargate' and tell the entire story we wanted to tell.
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.
The scale of 'Independence Day' is much more than 'Stargate.'
'Trek' is probably more cerebral and philosophical. 'Stargate' does seat-of-the-pants adventure and humor better.
My fantasy is that I could wake up looking amazing, that I could be strong and stop the bully, but that everybody would love me, too. I think that's intrinsic to fantasy - fantasy is fantasy.
I've always felt more comfortable in fantasy. Fantasy has felt more real to me at times. Drawing was an immediate outlet for that: to create. It's been my ability to create my own world.
Poetry restores language by breaking it, and I think that much contemporary writing restores fantasy, as a genre of writing in contrast to a genre of commodity or a section in a bookstore, by breaking it. Michael Moorcock revived fantasy by prying it loose from morality; writers like Jeff VanderMeer, Stepan Chapman, Lucius Shepard, Jeffrey Ford, Nathan Ballingrud are doing the same by prying fantasy away from pedestrian writing, with more vibrant and daring styles, more reflective thinking, and a more widely broadcast spectrum of themes.
Fantasy allows you bend the world and the situation to more clearly focus on the moral aspects of what's happening. In fantasy you can distill life down to the essence of your story.
You always start with a fantasy. Part of the fantasy technique is to visualize something as perfect. Then with the experiments you work back from the fantasy to reality, hacking away at the components.
My first three manuscripts were epic fantasy - like high fantasy - and then the fourth one was a historical fantasy about Mozart as a child. I still have a soft spot for that one!
When doing a fantasy show - or a show with fantasy elements - the more you can anchor an effect to reality, the stronger the illusion is.
I've read every single fantasy novel there is. I mean, I would challenge a lot of people to read more fantasy novels than I have.
Fantasy gets a mixed reception - a lot of fantasy is formulaic but most of the award-winning fantasy on the contrary tends to be the stuff at the edges of the genre, rather than swimming in the middle.
When I write a book, I put everything I have into it; so the more I have, the more the books become. Some people get freaked out by them: mostly the people who believe, mistakenly, that fantasy is about escaping reality. To them I say: If you have a problem with reality, you should be spending more time dealing with your life, and less time reading popcorn fantasy.
I wish more fantasy, especially the dominant fantasy that draws heavily on British and Christian lore, would wrestle with its own ethnospecific nature and what that means when the story is set somewhere where more than one belief system is in operation. If all you do is pay lip service to it, you can get the kind of thing where the writer has thrown one Hindu god into a Christianist fantasy (rendering said god by default a demon or otherwise inferior to the dominant religious system of the story, which is such an insult), and the hero is able to vanquish it by chanting a spell in church Latin.
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