A Quote by Alan Moore
There are two worlds we live in: a material world, bound by the laws of physics, and the world inside our mind, which is just as important.
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There is something about human nature that just doesn't want to face the reality that we live in two worlds. We live in the physical, material world where we have jobs, read books, and go about our business. And we live in a spiritual world - and that is a world at war.
There are only two worlds - your world, which is the real world, and other worlds, the fantasy. Worlds like this are worlds of the human imagination: their reality, or lack of reality, is not important. What is important is that they are there. these worlds provide an alternative. Provide an escape. Provide a threat. Provide a dream, and power; provide refuge, and pain. They give your world meaning. They do not exist; and thus they are all that matters.
The most fun is to inhabit the world where cartoon physics is king. And that just means that things move with kind of an energy and exaggeration and appeal that is different from what we see in our world. We're bound by, at least, Newton's Laws of physics here and in animation we're not. So, director's can be extremely eccentric, you can sculpt motion in animation in a way that you just can't do any other way. In any other performance medium.
We do not live in several different, or even two different, worlds, a mental world and a physical world, a scientific world and a world of common sense. Rather, there is just one world; it is the world we all live in, and we need to account for how we exist as part of it.
The burgeoning field of computer science has shifted our view of the physical world from that of a collection of interacting material particles to one of a seething network of information. In this way of looking at nature, the laws of physics are a form of software, or algorithm, while the material world-the hardware-plays the role of a gigantic computer.
What really happens is that the story-maker proves a successful 'sub-creator'. He makes a Secondary World which your mind can enter. Inside it, what he relates is 'true': it accords with the laws of that world. You therefore believe it, while you are, as it were, inside. The moment disbelief arises, the spell is broken; the magic, or rather art, has failed. You are then out in the Primary World again, looking at the little abortive Secondary World from outside.
Which is so important, I mean, that's what's so great about the books, is, you know, those two worlds are sort of, the slacker world of just comedy and laziness and then this crazy, over the top action, supernatural world, and you know, combined.
There is no science in this world like physics. Nothing comes close to the precision with which physics enables you to understand the world around you. It's the laws of physics that allow us to say exactly what time the sun is going to rise. What time the eclipse is going to begin. What time the eclipse is going to end.
The beast is the modern world that we live in! The material world. The physical world. The world of illusion that we think is real. We live for it; we're enslaved by it. And it will ultimately be our undoing.
The first rule of world-building is available physics, which basically means that if you want it to feel real, it has to follow the same rules as this world, from gravity to how human behaviour works. If you have a fantasy element that doesn't obey the laws of physics, make sure that it has a fantasy explanation.
What we experience is our own concept of things. That is why no two people see quite the same world, and why, in many cases, different people see such different worlds. To put it another way, we make our own world by the way in which we think; for we really do live in a world of our own thoughts.
Thanks to art, instead of seeing one world only, our own, we see that world multiply itself and we have at our disposal as many worlds as there are original artists, worlds more different one from the other than those which revolve in infinite space, worlds which, centuries after the extinction of the fire from which their light first emanated, whether it is called Rembrandt or Vermeer, send us still each one its special radiance.
The first rule of world-building is available physics, which basically means that if you want it to feel real, it has to follow the same rules as this world, from gravity to how human behaviour works. If you have a fantasy element that doesnt obey the laws of physics, make sure that it has a fantasy explanation.
We, however, want to become those we are--human beings who are new, unique, incomparable, who give themselves laws, who create themselves. To that end we must become the best learners and discoverers of everything that is lawful and necessary in the world: we must become physicists in order to be able to be creators in this sense--while hitherto all valuations and ideals have been based on ignorance of physics or were constructed so as to contradict it. Therefore: long live physics! And even more so that which compels us to turn to physics--our honesty!
I've always written towards movies that take place across two worlds. Most of the movies that I've worked on take place in two worlds, or sometimes three worlds, where you have a normal world and a fantasy world that mix and overlap. I never shy away from the series stuff in the real world. Big Fish is about mortality.
The identifying personal association with objects, which are not personal, is an important modern experience - our real association, the strands of our feelings about the objects that surround us. It's also because they are so familiar, we don't think of them as important in the world, but actually they are the world. We are living in a very material world.
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