Tony Hale Quotes

What others call magic realism is normal and an everyday thing to me.

The challenge is to write about real things magically.

I really think I write about everyday life. I don't think I'm quite as odd as others say I am.

I'm into weird kind of, anything that resembles magical realism.

I'm a fantasy writer, called a fantasy writer. But there's very little, apart from one or two basic concepts in 'I Shall Wear Midnight,' which are in fact fantasy. You have sticks that fly, but they're practical broomsticks, with a bloody great strap that you can hold on to so you don't fall off. And you try not to use them too often.

I think because I try to keep things as real as I can, or I try to start from a place of reality, I almost don't have the imagination to write a book that's not set where I am.

I couldn't ever write a straight crime novel: there'd be an intrusion of weirdness at some point.

From Romare Bearden I learned that the fullness and richness of everyday life can be rendered without compromise or sentimentality.

One of the best things about folklore and fairy tales is that the best fantasy is what you find right around the corner, in this world. That's where the old stuff came from.

I try to pull my inspirations from everyday life. If I came across a situation that is like, 'Oh, that's going to be scary, that's going to be frightening,' that's when I get inspired, and I put that into my films.

Fiction is my deepest love, but I love journalism, too. It keeps me thinking vigorously, and it reminds me that there is a world out there.

The thing about 'Game of Thrones' is it doesn't pin too much of a focus on magic. It kind of paints it in the same way that mystical things are portrayed in our world, because you don't walk about Westeros and see wizards with staffs or magical wands. All the characters don't really believe in it. It's this mysterious hidden vein to Westeros.

Whenever I write, I write what I find to be the way people are. I never use any symbolism at all, but if you write as true to life as you possibly can, people will see symbolism. They'll all see different symbolism, but they're apt to because you can see it in life.

I'm a big fan of honesty and being real, so to me, it seemed like Wynonna was a very human character in a very supernatural circumstance. I was like, 'I can do that!'

If you're going to create a character, the tools you use to make that character 'real' are the lives you see around you. The people you listen to on the street. The emotions you see on faces and bodies while you're sitting... in a Starbucks, watching the world go by.

Sci-fi and horror, particularly, allow a storyteller to depart from, let's say, the demands of cinema verite or kitchen-sink realism or, even, just relatable dramas and can go into areas that are either - in the case of horror - more primally effective or, in the case of sci-fi, more speculative or imaginative.

I want all of my films to be grounded in reality, and I think 'Midnight Special' is the most grounded film I've ever made, in spite of its genre.

My idea of a good fantasy is something that's absolutely grounded in reality. And there's a little element that doesn't belong there - and that's the fantasy element - that you have to react to and deal with in a completely real way.

Metaphor is pervasive in everyday life, not just in language but in thought and action. Our ordinary conceptual system, in terms of which we both think and act, is fundamentally metaphorical in nature.

I don't think it necessarily makes me want to go back to my 20s, but what I love about playing any type of character is the escapism.

I think that's why Meryl Streep is working so much, because she looks like a woman we can all relate to. I look at her and I think, 'I'm chasing my kids, I've moved my parents in with me, I'm coping with food spills - that looks like me in real life'. Meryl looks like an unmade bed, and that's what I look like. To me, that looks true.

The more you think about it, the more amazing the everyday world of human beings becomes: most of it doesn't actually exist at all.

I think that it's important to try to keep reality. I think that Gabriel Garcia Marquez speaks a lot about reality in his magical realism. So I don't think we have to be hyper-realistic. But we have to understand the pressures that undergird the lives of the characters within that novel.

What I like about fairy tales is the language and the matter-of-fact way of introducing magic, where it's accepted that a fox could talk or a gate could just appear in a wall. I think fairy tales are so psychological.

In retrospect, I think that I've been given quite a few scripts over the years that had dark elements to them but most of them took place in the countryside with a haunted house. I think I've probably had that script about six to 10 times over the past few years. Or it was something to do with the supernatural.