Quotes of All Topics . Occasions . Authors
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.
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.
Even as Instagram defines our visual moment, we use the app's filters to travel backwards in time, to make our images resemble the Polaroids of yore by casting them literally in a different, more nostalgic light.
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.
I like visual images and there are certainly other bands that have strong visual images going all the way back to Elvis Presley, but it's kind of like that's never really been my bag. Probably because I'm too shy.
If I really believe that visual representation and narrative are ways to convey important, complex ideas, and if the world is gravitating toward this form, then geez, I better do it myself. I want to do it myself.
Ruskin believed that everyone had visual as well as verbal capacities that needed to be developed in order to become a complete human being, and that the apprehension of truth depended on the power of observation.
Marilyn Monroe and Vivienne Leigh are real icons of mine. In terms of visual culture, they are both so iconic. There weren't any paparazzi shots of them falling out of taxis, so they will always look so incredible.
Video is a funny thing. It's one thing to be an artist, singer-songwriter, and use words and create pictures in people's minds. And then be asked to do video for it, to actually give a certain visual for your song.
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.
There is no society ever discovered in the remotest corner of the world that has not had something that we would consider the arts. Visual arts - decoration of surfaces and bodies - appears to be a human universal.
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.
When I step back and look at what's important to AMD, it's about graphics leadership - visual computing leadership - as well as a strong computing experience. We have the capability to integrate those two together.
Normally, improving contrast sensitivity means using glasses or surgery to correct the eye. But we've found that action video games train the brain to process visual information more efficiently and improve vision.
You have to approach something with indifference, as if you had no aesthetic emotion. The choice of readymades is always based on visual indifference and, at the same time, on the total absence of good or bad taste.
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.
For me and my films, I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional, and I want you to be engaged with not just the scene but with the characters.
When the target audience is American teenage kids, you can have problems. My generation prized really fine acting and writing. Sometimes you have to go back to the basic principles which underpin great visual comedy.
I like doing clay work. It's different from drawing on a page because you have something to mold into different shapes. It's quite visual, it's a thing you can hold and feel, and that makes it different from drawing.
You know, there's so many great bands out there, visual bands, that we have to do something that makes us individual, and makes us stick out from everybody else, and something that is even bigger than just the music.
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 have a good visual memory. I'm good with faces, but names - I get in trouble a lot; I can't seem to remember people. People think I'm rude. As a side comment, you know, I'm not being rude: I just kind of blank out.
My father is a visual artist, so I was influenced by him, and my mother is an English teacher who forced me to read a lot of books and poetry and get involved in theatre. I developed a varied taste for different arts.
I have no style. There are certain people who just have a visual sense that defines their work. You could probably watch 30 seconds of anything they do and you'll know exactly who directed it. I don't have that skill.
I don't use film cameras. I don't do visual effects the same way. We don't use miniature models; it's all CG now, creating worlds in CG. It's a completely different toolset. But the rules of storytelling are the same.
If the seams are showing, there is something wrong with the performance or the construction of the piece. This idea is completely at odds with our modern visual experience, because everything today is based on montage.
Most writers are unhappy with film adaptations of their work, and rightly so. 'Field of Dreams,' however, caught the spirit and essence of 'Shoeless Joe' while making the necessary changes to make the work more visual.
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.
If you can have a great story that people can follow the mystery and get the suspense, and then you have those moments of tension and a splash of visual fun, then you kind of get everything. You get your money's worth.
'Phantom Menace' was a huge project. It was the biggest visual effects production ever done at that point, and it was a little scary how big it was and how many unknown technologies had to be developed to do that work.
Traditionally, the role of the bass player was just to keep things simple and solid, so it's really a special thing when you can get a player that can actually bring in a lot of presence and also a visual presence, too.
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.
It's the most unrealistic thing you can do to shoot a close-up, and it's the most unrealistic place you can be as a performer. And yet actors grouse about having to do visual effect shots, but they love doing close-ups.
For some reason I have a visual intuition that allows me to design things in an interesting way, and I don't know where that came from. Because I don't have this formal training, I seem to drift in a different direction.
Every time we come out, there's a hunger for creative expression or creative ways to put out content that isn't duplicated from our last run. Whether it's technology, messaging, visual… we're always pushing the envelope.
I think that cognitive scientists would support the view that our visual system does not directly represent what is out there in the world and that our brain constructs a lot of the imagery that we believe we are seeing.
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.
The way I create music is maybe like a painting, to compose in a more visual way. Basically it's the music that I want to hear- that's my inspiration and bottom line. I just try to get ideas from books, movies, paintings.
It's been noted that writing about the production of art is a masquerade or metaphor for writing about writing. This may be true, there are similarities - both the verbal and the visual represent the thing or the concept.
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.
That's a big important deal, the way people see you from the stage. Once in a while, I'd ask people, 'How did you enjoy the show?' 'Hey, you looked great.' But how did I sound? That visual look is very important to people.
Boxing is my real passion. I can go to ballet, theatre, movies, or other sporting events... and nothing is like the fights to me. I'm excited by the visual beauty of it. A boxer can look so spectacular by doing a good job.
When I first start writing a song, I usually write the title first, then the song, and I'll sing the song in my head and think of a visual of the song. If I can't think of a visual behind the song, I'll throw the song away.
Despite their lack of visual impact, headline sex-appeal, and their 'out of sight, out of mind' nature, we should all care about aquatic dead zones because we are all connected to their causes and we all feel their impacts.
We're visual creatures. Probably, when we were hunter gatherers... that was the kind of thing that mattered. And remembering, say, phone numbers was, like, not that important when you're hunting down a mastodon or whatever.
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.
BASE jumping is skydiving from fixed objects, like buildings, antennae, bridges and earth - meaning mountains, cliffs. It's for sure - for me - it's the ultimate feeling of being in free fall, with all the visual references.
The system is the work of art; the visual work of art is the proof of the System. The visual aspect can't be understood without understanding the system. It isn't what it looks like but what it is that is of basic importance.
San Diego shaped me a lot. The visual landscapes, the emotional panoramas, the teachers and mentors I had from the third grade through San Diego High - it's all a big part of the poetry fountain that I continue to drink from.
We've carried that over into the visual development as well. We've designed quite an exotic cast of characters, but the last thing we want is to dictate to the players how their PCs should look. What we want to do is inspire.