A Quote by Rege-Jean Page
Ultimately, you have to meet a realistic setting on screen with some imagination as a viewer, as that is what creates a story.
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In brief, worldbuilding is different than setting in my opinion. Setting is a room. A backdrop. It's scenery. But without good worldbuilding, you can't have realistic feeling scenery. You can't have cool, unique backdrops for your story.
Henry Corbin creates the world - most of all his examination of the imagination and what the imagination was for him. Some philosophers would think of the imagination as a synthetic ability, how you put different things together. Artists more think of the imagination as creativity. So I really like the way that he presents the imagination as a faculty that allows one to experience worlds that are not exactly physical but are real nonetheless.
If there's flat tires or bad food or rough lodging or zany people that we meet, we throw them up all on screen so that the viewer doesn't feel like they're watching a kind of sanitized, produced effort.
Storytelling is ultimately a creative act of pattern recognition. Through characters, plot and setting, a writer creates places where previously invisible truths become visible. Or the storyteller posits a series of dots that the reader can connect.
One siupreme fact which I have discovered is that it is not willpower, but fantasy and imagination that ceates. Imagination is the creative force. Imagination creates reality.
Imagination creates some big monsters.
A viewer's imagination is a powerful storyteller, and can often come up with things way more frightening than what you can explicitly show in a horror movie... try to engage that imagination, and the results can be magical.
I came across an old story of mine that I'd written a decade ago. The main joke of the story is that a mother is telling her children about how she met their father online. The majority of memories the mother has all have to do with really funny links he sent her, a music download that she loved, etc. - and because of these superficial details she fell in love with the father. Reading it today, it's hardly a dystopian story; it's simply a realistic story about how people actually meet.
A good story is alive, ever changing and growing as it meets each listener or reader in a spirited and unique encounter, while the moralistic tale is not only dead on arrival, it's already been embalmed. It's safer that way. When a lively story goes dancing out to meet the imagination of a child, the teller loses control over meaning. The child gets to decide what the story means.
Well, I have an idea, usually a visual image of some sort. A setting. A particular, I don't know, urban scene, a particular time of day. Something that grips my imagination for some reason.
Having a magical element in a realistic setting without explanation seems to me to be the hallmark of fairy tales, which present us with a kind of metaphorical look at some aspect of our lives.
There is only one admirable form of the imagination: the imagination that is so intense that it creates a new reality, that it makes things happen.
You'd have to have one hell of an imagination to completely make up a story, but historians are very anal about what they think should be portrayed on screen. Thankfully they don't make movies; we do.
I thought, well, what about a show that stars undersea creatures, and some of the ones you rarely see animated. So, from there, I just started drawing different animals in a kind of a setting that was this nautical world. It's not realistic but sort of a fantastic environment.
It's always a challenge bringing a great story classic to the screen. Giving visual form to the characters and places that have only existed in the imagination. But it's the kind of challenge we enjoy.
I know how fiction matters to me, because if I want to express myself, I have to make up a story. Some people call it imagination. To me, it's not imagination. It's just a way of watching.
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