In this post, you will find great Visual Quotes from famous people, such as Martin Villeneuve, Kerry Washington, Christopher Wylie, Gaspar Noe, Maggie Rogers. You can learn and implement many lessons from these quotes.
I’ve always been really interested in fashion, culture and visual arts in general: when I was growing up my parents half-expected me to go to art school, but I ended up working in Parliament, and then working in tech and data.
I’ve always been respectful to all the people who do visual effects and special effects, because making movies is also making magic.
I’m never going to be one of those people who is good at organization. But I’m very visual. I have a catalog in my head of things I already own, so it’s easy to shop and I always know exactly what I’m looking for.
A picture book is a small door to the enormous world of the visual arts, and they’re often the first art a young person sees.
Writers divide fairly cleanly into those who only work through what they hear and those who are more visual. I am the latter, where I lie down on my office floor and play scenes through my head to – cinematically, several times with different elements – to see what works. I can’t write a scene until I can see it.
Madonna is her own Hollywood studio – a popelike mogul and divine superstar in one. She has a laserlike instinct for publicity, aided by her visual genius for still photography (which none of her legion of imitators has). Unfortunately, her public life has dissolved into a series of staged photo ops.
I love visual gags and gimmicks; I love them.
I’m a visual person, and I love visual extremes and aesthetic discipline.
It’s almost as if creativity is dead. The visual power of advertising was everywhere – now it’s basically gone.
I’m not sure what to call ‘Lego Star Wars: The Visual Dictionary.’ Nonfiction? Movie/toy fiction? But it is any Lego/’Star Wars’ kid‘s dream. Call it spectacular.
Flashbacks rarely involve language. Mine certainly didn’t. They were visual, motor, and sensory, and they took place in a relentless, horrifying present.
I’m in awe of the universe, but I don’t necessarily believe there’s an intelligence or agent behind it. I do have a passion for the visual in religious rituals, though, even though they may be completely empty and bereft of substance. The incense is powerful and provocative, whether Buddhist or Catholic.
There are a lot of artists in Gowanus, and certain things come into your visual vocabulary from living there – the scale of the subway and the canal, sometimes it almost looks like a de Chirico painting, with the intense angles of the shadows and everything.
Honestly, I’ve been reading a lot of books on visual art. I’ve been reading a lot of books by Olivia Lang, I’ve been listening to a lot of folk and singer-songwriter music, but also a lot of electronic and really hard techno. I’m just trying to create something that pulls from everywhere and that hopefully feels unique.
Cinema is a visual medium one has to communicate through visuals, and therefore, dialogues should be less.
I’ve always thought of the book as a visual art form, and it should represent a single artistic idea, which it does if you write your own material.
We actually make all of our own music videos. Often we come up with the visual concepts at the same time as writing the music.
I think there are some things I am unable to fully express with my visual work, and the music is what fills that void. At the same time, I don’t think you can fully appreciate the music without the anchor of the visual work.
I think my books come out very visual, which is an obvious consequence.
While films are a very visual and emotional artistic medium, video games take it one step further into the realm of a unique personal experience.
For me in my twenties, working in Hollywood was confusing in that the differences between what was fiction and what was nonfiction seemed to blur in my mind. Everything became a visual memory for me. I carried my Leica camera, giving opportunity to take pictures from my view.
I wanted to write something visual that I could read to the children. This was when I created the idea of Redwall Abbey in my imagination. As I wrote, the idea grew, and the manuscript along with it.
During a color consultation, I like to reference food as a visual. Hot fudge and orange marmalade paint a clearer picture and helps prevent end results that leave you feeling unsatisfied.
You know, things that might work in a book just do not work in the visual medium of movies.
Semiotics is a general theory of all existing languages… all forms of communication – visual, tactile, and so on… There is general semiotics, which is a philosophical approach to this field, and then there are many specific semiotics.
My mother is an artist, and I have a strong visual sense. I almost always choose the cover art for my books. I’ve learned that the more I collaborate, like by having someone do a soundtrack to one of my books, the more I see my own work differently.
I’m a very visual thinker, so the characters are running through my head, doing what they’re doing when I’m writing them. And there’ll be moments where I’ll just kind of throw a look off to the side as if I’m talking to one of the characters. It’s always been something that I’ve had with me since I was a little kid.
I’m a visual person, a conceptual person.
After about the first Millennium, Italy was the cradle of Romanesque architecture, which spread throughout Europe, much of it extending the structural daring with minimal visual elaboration.
Also the pictures themselves give a visual to the audience tuning in, that makes them a very important part of law enforcement, or pulling families together.
I’m very fortunate in that my parents are artists. My mom is a brilliant poet… She still is a great visual artist. My dad is a jazz drummer… I’ve been very fortunate in that I’ve had parents who supported and encouraged me and haven‘t really questioned what I’m doing or asked me to question it.
The multiculturalism of Britain is one of our greatest strengths in music, literature, and visual art, but the TV and film industry doesn’t tap into the multicultural talent pool in the U.K. as much as they do in the U.S.
You or I never buy an Intel product explicitly, and yet their sonic logo is far better known and more powerful than its visual equivalent. It’s probably worth hundreds of millions of dollars.
So, I’m always around video games but I’ve always been interested in them from a visual perspective, with the graphic design and that whole thing. I don’t know if that comes from my love of photography or what but that’s always what’s held my interest about them.
I’ve often been asked why my shot-taking is not stylish, why I don’t think about visual statements. The truth is, style is irrelevant. I never think of the shot as much as I think of the characters and what they are saying and doing.
I love writing picture books and story books because of the exciting, visual life that artists and illustrators give to them. And most of all, I love writing novels because of the inner, emotional journeys that they take me on. Hopefully, the reader comes with me!
Nonviolent, visual protests have a long history of forming images that can quickly go viral and set a powerful tone for a moment.
Music has always been a part of me and art in general. I love visual art as well.
My behavioural problems are non-existent because all my freakiness, I guess, is manifested in a visual way. And I never have come unravelled.
It’s much easier to consume the visual image than to read something.
I’m interested in visual vocabulary, like Warhol was interested in that vocabulary of advertisements and television and pop culture.
When I make music, it’s a very visual thing. Conjures up a lot of images.
I was at art school that had quite a celebrated film course as well. I tried for that film course when I was 18, but they said I was too young. I tried this audio and visual design course instead. Two years later, I reapplied for that higher course, but they said I was still too young and to try in five years.
With regards to music, I don’t want to pigeonhole myself and say I am a musician or a visual artist, because I feel like it’s all-encompassing, and I feel like every bit of my art is related to the other.
A visual image is a simple thing, a picture that enters the eyes.
The black community has always complained about abuse from cops. It’s nothing new. But now, more people are seeing visual examples of what they’ve been complaining about. That’s one thing that has changed over time.
I try to write cinematically. Let me define what I mean by that. First of all, I try to write in a visual way so that the reader can watch a movie in their head. And it keeps moving. I try to structure the stories like a screenplay may be structured.
After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.
I learned first of all not to be intimidated by any visual effects that I don’t understand. It can all be learned. You can then use them as tools to tell your story. I also learned that you have to be really vigilant, the more complex the movie, to not lose yourself and to not lose sight of the priority.
One does not contemplate it like a picture. The idea of contemplation disappears completely. Simply take note that it’s a bottle rack, or that it’s a bottle rack that has changed its destination… It’s not the visual question of the readymade that counts; it’s the fact that it exists, even.
I think that our civilisation is very much a visual civilisation – television and videos and all this.
I paint. I love the visual arts.
Music is more than words. It’s a visual experience, too, and people really feel my music because of the way I move and put on a show.
I love storytelling, I love being a visual person, and it just made perfect sense to be an underwater photographer and explore the ocean and work with scientists.
I live in words. I like looking at things, but I don’t have a strong visual imagination.
Some of our best writers are self taught. Screenwriting is a combo of craft and art. The craft part can be taught, about how to be visual and economical with scenes. However, finally it’s the individuality of the writer that will come into play.
Great visual effects serve story and character and in doing so, are, by their very definition, invisible.
I don’t like seeing myself on television and I don’t enjoy filming. What I actually enjoy is thinking about how I am going to express something or how we are going to make the visual metaphor.
‘Sanam Re’ is an amalgamation of an emotional love story and a visual treat.
Radio is such a perfect medium for the transmission of poetry, primarily because there just is the voice, there’s no visual distraction.
Billions of photos are shot every year, and about the toughest thing a photographer can do is invent an original, deeply personal, instantly recognizable visual style. In the early nineties, Wolfgang Tillmans did just that, transforming himself into a new kind of artist-photographer of modern life.
In virtual reality, we’re placing the viewer inside a moment or a story… made possible by sound and visual technology that’s actually tricking the brain into believing it’s somewhere else.
I think the composer and production staff of an opera have a real responsibility to use visual elements of all kinds to make clear to the American audience, at any rate, exactly what is going on.
I don’t really trust musical artists that don’t also do visual art.
I am a visual person, given that I am deaf.
Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.
As a visual storyteller, a lot is learning what to include so you’re not being redundant between images and text.
I’ve always been involved in the visual aspect of my work, and moreover, it’s very important in days where technology allows us to push the boundaries even more than when I started out.
Animation offers a medium of story telling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world.
The visual architecture of ‘Biutiful’ is the most sophisticated of all the films I have directed.
Architecture is a visual art, and the buildings speak for themselves.
I really like books that you can kind of hear as much as think about, that are so graphic and visual.
The only reason that you do visual is solely for the visual. That’s the only reason. It doesn’t sell your music for you.
Virtual-reality researchers have long struggled to eliminate effects that distort the brain’s normal processing of visual information, and when these effects arise in equipment that augments or mediates the real world, they can be that much more disturbing.
The way we tell our stories on stage is that we use spoken word to convey action, and in movies, we use visual images to convey action.
I couldn’t do a record without knowing I’ll translate it into something visual.
Everything for me is visual. That’s just how my head works.
Man is used to the fact that there are languages which he does not at first understand and which must be learned, but because art is primarily visual he expects that he should get the message immediately and is apt to be affronted if he doesn’t.
I haven’t had the opportunity to study visual art, but it was always my first love when it came to artistic expression. I started drawing and experimenting with visual art when I was 5.
I was always a visual person. I could see things visually. I had a harder time with numbers and logic, and I always had more of an artistic sensibility. So that I could do. And it was something that I really loved.
It is a common fact that we see light flashes in a dark environment while living up here, and this experiment is essentially trying to detect how we humans detect these flashes – not sure if these are visual, if they are some type of radiation maybe sensed by some other part of the brain.
It’s thought that about 96% of us have visual imagery, and there’s a very tiny minority in the population, some of whom are normal, some of whom have brain lesions, who cannot produce visual imagery.
Writing is largely about time, while visual art is largely about space.
I love the visual medium of film and TV. I love the science of it, working with the sound and the lighting and every aspect.
When I work, I’m thinking in terms of purely visual effects and relations, and any verbal equivalent is something that comes afterwards. But it’s inconceivable to me that I could experience things and not have them enter into my painting.
I think stories can grow out of the visual. It can be an engine for literacy.
When ’36 Chowringhee Lane’ was released in 1981, I was a student of the Film and Television Institute of Tamil Nadu. Everyone who had seen the film was very impressed with its flawless direction and acting. But we, cinematography students, were stunned by the visual style, which was truly international.
‘Twelve‘ was a total indie drama character piece. It wasn’t that it was more about the performance, but it was just a very different thing where, with horror, there’s this whole added element of the visual and the technical and the choreography.
The clarification of visual forms and their organization in integrated patterns as well as the attribution of such forms to suitable objects is one of the most effective training grounds of the young mind.
A visual understanding of great composition and how to use a camera and expensive lenses can be learned, but drive and a real hunger for making photos and telling stories… I don’t think that part can be learned. You either have that inside, or you don’t.
‘Detroit 1-8-7′ – the numbers are police slang for murder – is filmed in that blue-collar Michigan city, providing a flavor of authenticity. Detroit offers a unique visual landscape that tells the story of the city and what it’s been through.
I’ve always been involved in the visual arts and music.
Words aren’t very good at describing complicated, strange visual things. You can try, and the reader will have some sort of image in their mind, but words aren’t good at that.
I can’t do fiction unless I visualize what’s going on. When I began to write science fiction, one of the things I found lacking in it was visual specificity. It seemed there was a lot of lazy imagining, a lot of shorthand.
The small visual inconvenience of e-books is made up for with find and search functions, and the fungibility of digital text.
Around the time I began starving, in the early eighties, the visual image had begun to supplant text as culture’s primary mode of communication, a radical change because images work so differently than words: They’re immediate, they hit you at levels way beneath intellect, they come fast and furious.
Like the skyscraper, the automobile, and the motion-picture palace, neon signs once symbolized popular hopes for a new era of technological achievement and commercial abundance. From the 1920s to the 1950s, neon-lit streets pulsed with visual excitement from Vancouver to Miami.
Schiaparelli was almost like a pop artist. Even the first sweater had a naive visual impact. You immediately get it, and you love it or you hate it. There’s nothing in between. But she had a proper upbringing, so she also understood about quality and luxury.
To have my fan club. I am very proud of doing everything. I try to support my parents, friends and fans. I am also proud of my performing in the visual arts, and motion television.
What I do is I get the sheet music and I put it out for myself and then I use a visual tuner to go through each note individually. And every time I make a mistake, I start the song over again, so I use the muscle memory of intervals and then watching that tuner, and then a lot of repetition.
In a film we have limited time and space to say what we have to, hence the visual language and brevity needs to be paramount. In a novel, however, we can dissect each thought and emotion and build on it.
I’d probably play games obsessively if I didn’t write, although I admit I don’t read novels partly because I don’t enjoy it, not just because it’s the wrong side of the creator-consumer barrier for me. I’m a visual writer. I think in moving 3D images and write down what I observe.
I use the aid of technology while running through songs. Visual tuners and feeling the vibrations through the floor to keep time.
Be able to describe anything visual, such as a street scene, in words that convey your meaning.
Boys, young men, men of all ages are being captivated by the new visual grammar which pushes men to pout and posture.
There is a great deal of freshness and charm in ‘400 Blows.’ There is also a great deal of visual poetry in the way in which Truffaut’s camera looks at his beloved city.
While you’re testing out armatures of puppets, you’re also trying to find the proper visual vocabulary for the character and to come up with a guidebook of sorts for how a character will move and act.
It seems to me that the natural world is the greatest source of excitement; the greatest source of visual beauty; the greatest source of intellectual interest. It is the greatest source of so much in life that makes life worth living.
You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences – whether they know it or not – most want an emotional connection to character.
Two things I’m obsessed with are the countryside and fields and being in the open space and body parts, so you’ll hear me mentioning body parts and human anatomy. I’ve listened to my songs and I think I am quite visual and I talk about bones and flesh a lot.
In my art, I deconstruct and then I reconstruct, so visual perception is one of my primary interests.
Jazz vision for me is seeing my art in musical term. It offers me an visual expressions in an ever-changing musical palette.
The thrill of doing visual effects doesn’t exist.
I think of myself as a translator. I just change the dry, unfeeling language of data into a visual language that allows for feeling.
I would really love to collaborate with Gwen Stefani and M.I.A.; artists that kind of make sense with me vocally. And in terms of style, I’m a very visual artist. I really love Pharell. I love people that really care about drums, and I like beat-heavy.
I draw on a lot of cinematic influences like Ingmar Bergman and Wim Wenders, artists who let a story take its time. Comics are a visual medium, and visuals should be allowed to tell some of that story.
As you wake up to sort of Morocco coming to life, and you drive a two hour journey through the desert as the sun is rising over the sand dunes… I saw landscapes and visual stuff that I’ll never forget. It was special.
A lot of the work in, say, construction or restaurants involves visual and motor flexibility. It also requires adaptability, in terms of answering questions, giving people directions, or taking orders.
I think I managed to trick people a little bit into thinking I’m more arty by making creative, artistic, visual work and applying it to commercial music. Maybe. I don’t know.
If the Frieze Art Fair catches on, I imagine at least two great things happening. First, we will once again have a huge art fair in town that isn’t too annoying to go to. More importantly, Frieze may finally show New Yorkers that we can cross our own waters for visual culture. That would change everything.
When I’m working on the scripts or working with the other actors or rehearsing with the director, and when the director is cutting the movie, and we’ve shot the scene, the director is not looking at the visual effects.
Every now and then, I like to take a break from the visual arts and play a few songs on guitar. I don’t play them for anyone.
It has been said that 80% of what people learn is visual.
Design must be functional, and functionality must be translated into visual aesthetics without any reliance on gimmicks that have to be explained.
I read things and imagine them and then kind of start trying to kind of take what I imagine and make it visual for everybody else to see. It just happens to be my personal vision, and every person’s is going to be different, every book reader.
I think every film is made better by having smart music supervision that’s really in tune with the spirit of the visual content.
I even went to film school at School of Visual Arts in New York City. And then, after that, I got a day job at Universal publicity department, then moved over to Disney publicity department. So I had this day job, and at night I would study music.
When I was a little kid, I wanted to be, like, you know, a movie star, you know? Or, I always have interest in movie, you know? Because I like the visual aspect of the movies, et cetera.
I don’t say I create. I copy, of course. I’ve never been interested in the point of view of the tailor or creator. Fashion is a visual impression. This is why I often refuse the name of fashion designer. It’s a superficial, stupid job. The social-psychological aspect is more interesting.
When we started EA in 1982, our goal was to make games as big a media as visual entertainment or movies. That was how big we dreamed at the time.
I never had any preconceived ideas about acting, because I always thought I was going to be a visual artist.
The movies are all about visual, and television is all about character and dialogue.
I learned in the computer game business early on that all senses are not equal. The best example is, you’re listening to a radio play and you’re driving down the road, and suddenly you realize you haven’t seen the road in five minutes. It’s because your visual cortex has been partying with your imagination, basically.
With ‘Wagon Wheel,’ I loved the visual it painted, and it’s a song I can truly say I look forward to performing every night.
When you’re a kid, you learn whatever your parents think until you start taking in media. Because all your friends are your age as well, media is the third parent that you ever have. So I think about that a lot, what visual imagery is teaching us, and media in general having a huge impact.
Very few people view stop motion the way we do. We really try to use it – and animation generally – as a powerful visual medium by which you can tell virtually any kind of story in any genre.
Generation Alpha has very different expectations for the entire world. Everything that’s going to happen in their lives needs to be visual, on demand, adaptive, in demand, and we have to find a way to embed that into our toy experiences.
I love visual art. I painted for many years when I was younger. I have studied modern/contemporary Indian art a bit and am very impressed with the talent in India.
If smart technology can transform 3-D from a crude novelty to a genuine visual enhancement, why shouldn’t a sophisticated odor synthesizer follow a similar path?
It’s really hard for me to finish a song unless I have a strong visual in my head while I’m writing it.
I know that everyone who listens to radio creates you in a visual image that they need you to have. Whatever that is, I thought, let them have it. Let me be who the listener needs me to be and let me not contradict that with the reality of my photograph and risk disappointing them.
Film and theater are about misdirection and making the audience see something. I find it interesting. One of the things we do in ‘True Blood‘ is shoot all of our stunts in camera. Instead of doing some kind of visual effect, we try to make it happen.
You are either visual or you’re not.
I have a good memory for early life. My visual memory is good about childhood and adolescence, and less good in the last 10 years. I could probably tell you less what happened in the last 10 years. I remember what houses looked like, sometimes they just pop into my head.
I am not indulgent. I think constructing a scene elaborately – with art, costume, and visual drama – is not indulgence. Other people should do it, too.
It is difficult to talk about fashion in the abstract, without a human body before my eyes, without drawings, without a choice of fabric – without a practical or visual reality.
I was a painter before I was a writer, so I was always a visual artist. And my writing, to me, was always visual.
They will be given as gifts; books that are especially pretty or visual will be bought as hard copies; books that are collectible will continue to be collected; people with lots of bookshelves will keep stocking them; and anyone who likes to make notes in books will keep buying books with margins to fill.
The way I sort of approach my work is that the historical and socioeconomic and cultural worlds that the music is exploring dictate the visual experience and the way that we approach it specifically on film.
Animals use a broad range of strategies to advertise themselves in the mating market. In some instances, visual cues highlight a morphological feature – for example, the peacock‘s tail.
Visual storytelling is at once immediate and subversive.
The visual elements of the videos, the makeup and the costumes… these things have nothing to do with justice and truth, but nonetheless, it really changes the experience of the video.
I started as a visual artist and I’ve always dealt with music in that same sort of way.
The late 20th century had just enough communication abilities to allow superstar-ness and communality to happen. It was a musical renaissance that rivals the visual one that happened in the 1400s.
When we think about a great movie, I mean, what do we think about? We think about story, we think about character. And when the visual effects aren’t perfect, we forgive it.
I always would dream of making music videos. Whenever I make music, I always have a visual in my mind. I always see things.
Adam does most of the work when it comes to videos and he basically does the same as I do with the lyrics. The videos are his visual interpretations of our music.
Most of the creative industries have been deskilled by these really powerful ideologies of punk in music and Warhol in the visual arts. I think it would be great for us collectively to ask whether it’s had a negative or positive effect in contributing imaginative stuff to our culture.
Spike Lee is one of my biggest influences. What I love about Spike, other than he’s just a fun guy to hang around, is that Spike is fearless. As much as people talk about him being politically outspoken, let’s not forget that he’s one of the best screenwriters, ever, in addition to being a visual master.
For ages I thought I’d wasted my career doing visual effects, I wanted to be a filmmaker. And then I’ve learnt at the end of it all that actually visual effects was probably the best training ground I could have had.
I was a screenwriting and studio art major in college, so even though I don’t have any training as a floral designer, I have a very particular visual aesthetic.
People have always wondered if I’m trying to push the envelope when it comes to my cinema – they keep questioning the visual graphics and the controversial content.
But I think we’re also just talking about the literacy of the audience. The visual literacy of the audience. They’ve seen so many images now, especially here in the States. There’s so much to look at, to watch. So the visual storytelling literacy is harder to impress.
In my own research when I’m working with equations, I never feel like I really understand what I’m doing if I’m solely relying on the mathematics for my understanding. I need to have a visual picture in my mind. I’m constantly translating from the math to some intuitive mind’s-eye picture.
If I give a book as a gift, it is invariably a children’s book with beautiful artwork and a simple text. I adore the feel of them, the care taken in the artwork, and the high visual stimulation that sets off the simple but often powerful message the text conveys.
I try to make songs visual and tactile to kind of put you into the action.
I enjoy Instagram because it is a visual medium platform, with more photographs.
I think that’s one of the first things you’d say if you met me: that I am just nice and smiley. And that’s how I might appear when I’m not competing. But I’m totally different when it comes to sport. It’s just something that seems to be within me. It’s not external or visual. But it’s within me.
I’ve done a lot of dance sequences because I like them; I like to animate dancing because it’s fun and visual.
‘Sacred Games’ will take Indian visual content to another level.
I’m a relentless sketcher. It goes back to how you process the world around you – the whole left-brain, right-brain thing. Some people are data-driven. I’ve always been more visual.
I was very intimidated by the visual effects world. But I began to realize that you don’t have to know everything. You have to be able to talk about story.
It’s amazing to be able to work with people right at the top of whatever they do… inspiring photographers and stylists with very interesting visual language. The more I do it, the more I enjoy it.
Visual storytelling combines the narrative text of a story with creative elements to augment and enhance the traditional storytelling process. By design, it is a co-creative process resulting in an intimate, interpretive, expressive technique.
I find screenplays easy to write, my novels being very visual. You see what people look like. The physical action is described.
Doing representations of real people is not my strongpoint as a visual artist, and I know that.
I don’t want to do transformations on people for the sake of a visual. I want to do it because it makes sense.
With the ‘Boosh,’ we were trying to do this strange, weird thing that had its own language and visual style, and it wasn’t really what the powers that be wanted.
Theatre is a more difficult visual medium than films. You need to hold the attention span of the audience without goofing up and be able to express yourself as vividly as possible.
Film is much more visual, a scene is typically a lot shorter, you’re dealing with a lot more characters, a lot more locations, and you’re able to rely on things that you just can never do on the stage.
You have kids studying master class visual arts who are pushed to make films that will be successful economically; that’s what they focus on. So they work for corporate interest instead of artistic expression.
I have a longstanding fascination with visual art. I do, in fact, draw as well, as I did in ‘The Summer without Men.’ I also write essays about visual art.
I would never suggest that the geography or visual environment of the film is more important than what’s going on with the people, but it’s a major factor in getting the right tone. Certainly, it influences the actors tremendously.
One of the things I’ve always personally tried to stress with this band was to have some kind of visual aspect and to be consistent with it – like, not to change.
Most of the theatre work that you see in India is very verbose and the visual is whatever you can create on stage.
I trust the readers to build their own visual images. To me, that’s part of the wonder of reading.
The funny thing is musicians often love to go to see visual art because you’ve got all these pictures to turn into metaphors.
We are visual creatures. When you doodle an image that captures the essence of an idea, you not only remember it, but you also help other people understand and act on it – which is generally the point of meetings in the first place.
The two sensibilities, the visual and the verbal, have always been linked for me – in fact, while reading a particularly evocative passage, I will imagine what the photograph I’d take of that scene would look like, even with burning and dodging notes. Maybe everyone does this.
I think that if someone told me I could have been a visual artist, I might have been a visual artist instead. And if I’d known I could have done art history, I would have done that. But I just didn’t know.
There are a lot of visual marks that have to be hit, and lines that need to be said in a right way – so there wasn’t really any improvisation on the set when it came to the bulk of the script.
Art about art and backstory has taken over visual pleasure.
The world we live in is not purely visual. For me it’s totally poly-sensorial so the tactile, sensual aspect of living in the work that I do is brought to the fore.
I won’t usually just sit down to write. I’d have done it in my head already. I visualise a story just like a film strip running in my head. I guess that is also a reason why my books have such a visual element to them. And it’s what I tell young writers: plan your story ahead.
Be drawn to the visual arts for it can expand your imagination.
I’ve been obsessed with this kind of visual storytelling for quite a while, and I try to create material that allows me to explore it.
I’m a visual person.
I think it’s an important part of the visual effects supervisor‘s job to get really deeply embedded in production and keep us all focused on trying to generate the best result. I’m not proprietary about, ‘I would rather do this effect than let physical effects do it.’ No, let’s do the smartest thing for the movie.
Drawing and visual arts was kinda my first passion going all the way back to when I was a kid. I always felt like it was what I was supposed to do – but in reality I don’t know that I ever had the skill to make it a profession.
I love writing dialogue, and I think a lot of my writing is visual and very cinematic.
A game of chess is a visual and plastic thing, and if it isn’t geometric in the static sense of the word, it is mechanical, since it moves. It’s a drawing; it’s a mechanical reality.
I’m not a big fan of visual effects.
When I write a screenplay – and I think it’s one of the reasons why it was frustrating for me just to be a screenwriter – I’m not thinking of it in terms of words on a page; I’m thinking in terms of visual images – basically, a comic book. I’m thinking of it in a series of shots.
I wanted to create this dialogue between music and visual art and vice versa. No matter what part of the spectrum they fill, whether it’s visual, music, or whatever, artists are interested in other art forms. Your brain is already kind of firing in that way.
I have sketched since a young age, so there’s always been an artistic side, a visual side to my personality.
I love to look good – I love to get glammed up – but it’s not the most important thing in my world, and I’m not afraid to not be perfect. I can see where there is a lot of pressure ’cause we live in a very visual world, but I try to go a bit deeper than that. Things are just more important!
So to me it’s very similar in terms of trying to distill within the image, those elements that are gonna form, hopefully, a compelling visual statement.
Disability is as visual as race. If a wheelchair user can’t play Beyonce, then Beyonce can’t play a wheelchair user.
If you write a good action sequence well in a novel, you’re already writing it for film, because the only way to do it well is to use some of the same tricks. They’re rhetorical, not visual, but it’s the same move.
I had done student films for the School Of Visual Arts and for NYU and all these schools in New York, so those were my first film experiences, but they were student films, so I guess they don’t really count.
Visual storytelling of one kind or another has been around since cavemen were drawing on the walls.
‘Instagram’ is a media company. I think we’re about visual media. I explain ourselves as a disruptive entertainment platform that enables communication through visual media. I don’t think it’s just photos.
Drawing is not only a way to come up with pictures: drawing is a way to educate your eye to understand visual information, organizing it into a more hierarchical way, a more economical way. When you see something, if you draw often and frequently, you examine a room very differently.
I have always had a predominantly visual approach to my environment.
Language, I think, has nothing to do with film-making. It is how you make your point and whether you exploit the visual medium maintaining a certain standard that does the trick.
A visual always brings a first impression. But if there’s going to be a first impression, I might as well use it to control the story. So why not do something like throw a mask on?
The sound is the key; audiences will accept visual discontinuity much more easily than they’ll accept jumps in the sound. If the track makes sense, you can do almost anything visually.
I am a failed visual artist.
I’m a visual learner, so with hand-eye coordination, I was a natural.
Frank is such a great visual storyteller, that if you study his artwork you see that his Sin City books are already the best movies never seen on the big screen.
I don’t paint. I am a hobbyist photographer, so I relate to the visual arts that way, but I’m not a painter.
I’m a visual person.
I am a hobbyist photographer so I relate to the visual arts that way, but I’m not a painter.
At the age of 80, I’m becoming a visual artist. This could be my rebirth.
I think television has betrayed the meaning of democratic speech, adding visual chaos to the confusion of voices. What role does silence have in all this noise?
I would have been a visual artist. When I was in high school, that was one of the things… I had to make a decision what I was going to go to college for, and at the time, I also painted and sculpted. I got more attention for my performing, so I thought that was a better idea.
I think that maybe growing up and being dyslexic early on, the visual quality of cookbooks specifically was something very enticing to me.
Sometimes when you get in this game, you think that you’re going to take off if you do a song with someone big. But that’s not the truth. Everything with you got to be good – the visual, the push, the production.
Drawing and visual pursuits were first. Music came and found me in a way. Really, what it’s about is creative problem solving, and music is a lot more an expression of that than painting is for me.
Right before ‘American Dreams,’ I started to pursue these avenues, like short films and getting into a couple night courses to really study photography and cinematography, and the language of visual storytelling.
There must be a little memory bank, a library or storage unit in my brain, that just tucks away memories of other people. I suck in as much of life as I can. I don’t do it deliberately – I’m just curious. Dangerously so. I collect visual and aural patterns, physical human patterns, from experience.
When I was thinking of video ideas for this song, I wanted it to reflect the energy of the music and express the big eye roll that ‘Sit Here and Cry’ is. I had a very specific visual vision for it, and when I saw Sam Siske’s reel, I knew he was going to get it.
I have a music-video background, and I feel like the responsibility of a music-video director is to do something that hasn’t been done before in a really cool visual way. So much innovation has come in filmmaking through music videos.
How the visual world appears is important to me. I’m always aware of the light. I’m always aware of what I would call the ‘deep composition.’ Photography in the field is a process of creation, of thought and technique. But ultimately, it’s an act of imaginatively seeing from within yourself.
I’ve worked in the film business for 45 years, and I want to keep on growing as a filmmaker. I want to see my visual life grow and be increasingly effective in this world.
I am primarily a writer of books, and I enjoy that. But I come to realize that a lot of people prefer a visual medium.
I’ve been doing visual stuff for as long as I’ve been making records; in fact, for longer.
I try to educate people about materialism through my work. I try to show them real visual luxury.
Each time you do a film you gain a lot of experience and build a visual resume where people get to know who you are.
I always see my songs in colors, and I’m often more inspired by movies and photographs than I am by other songs when I write my music. I’m also inspired by fashion, and I want my music to be a visual painting of what’s in my mind.
I’ve always been so interested in both the visual beauty of mollusks and the tactile feel of them. As a kid, I collected them all the time.
Sometimes when I write lyrics there are images in them, usually on a quite simplistic level, like colors. But most often music comes first and then later I sit down with visual people and we chat about what we want to do. I don’t look at myself as a visual artist. I make music.
Revisiting ‘Leave It to Beaver,’ and seeing it in the pristine visual clarity of digital restoration, are mood-altering if not quite mind-altering experiences, very much for the better.
I moved out to Los Angeles with the idea of becoming a director, which thousands, if not tens and hundreds of thousands, of people do, every year. It’s a very competitive field, of course. I immediately got swept away into the visual side of things, starting with visual effects, and then designing.
I know that I’ve played a lot of comedic roles. It’s a visual medium. When you get one role, you start to get cast in that role for awhile because that’s what people have seen you do, and have hopefully seen you do it successfully.
As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together. This happened in 1989. Since then, it’s been a long road of educating myself in every possible way.
I understand the visual media very well, as I used to write comic books for Walt Disney, and I’ve written a graphic novel. How you carry a story in pictures is different than how you do it in text.
Modernism has a reputation for being a forbidding phenomenon: its visual arts disconcertingly non-representational, its literary efforts devoid of the consolations of plot and character – even its films, it’s argued, fall well short of that true desideratum: entertainment.
It’s pretty hard to measure influence of written or visual material.
I wasn’t a big fan of social anthropology. And, luckily, that created room for me to work in visual arts because I sort of ignored my requirements. I think I was attracted to social anthropology because I liked to travel and was always interested in far-off places.
If you focus too much on development of the visual angle, it could be a detriment to what you’re doing musically.
With the violin, for example, one understands culturally that the sound comes from the instrument that can be seen. With electronic music, it is not the same at all. That’s why it seemed so important to me, from the beginning of my career, to invent a grammar, a visual vocabulary adapted to electronic music.
I understand the visual media very well, as I used to write comic books for Walt Disney, and I’ve written a graphic novel.
The young generation has a different curiosity that is more visual.
But considering that I walked in expecting no complexity at all, let alone the visual wonderments, ‘Snow White and the Huntsman’ is a considerable experience.
When judging a product, we rarely have exhaustive scientific data to go by. As a result, if we are to form a complete picture, we must fill in the blanks, just as we must in our visual perception.
Quite honestly, if I were doing work related to a living being or historical being where there was visual or audio recordings available, I would find that extremely difficult because I don’t know how you would avoid the process of mimicry. And mimicry, to me at any rate, is a very dull prospect.
Having a visual element to your band is a good thing.
I’m really visually stimulated more than anything. I don’t really listen to music. I’m more into watching telly or watching movies and visual art.
We enjoy playing small shows, big shows, whatever. There’s the energy of the visual production, and all that stuff starts to happen, so when you see it come to life, it’s pretty exciting.
We live in a visual world now.
I think there’s a connection with ‘Nightcrawler’ and ‘Blowup’ and other films where visual imagery is integral to the story. It allows you to play with images.
In the 1950s we use to feel that television was taking away our comic readership; with today’s exciting, powerfully visual movies I have to wonder about their effect on the kids’ loyalty to the comic book medium all over again.
It makes no difference whether a work is naturalistic or abstract; every visual expression follows the same fundamental laws.
For me, I’m very visually inspired. I’m more inspired by photographs and movies than I am by listening to other music, so for me to create an amazingly intense visual live show is a dream, so I would love to be on that level for sure.
In some ways, I’m just a visual person.
It’s always a challenge to adapt a novel for screen, a visual medium.
