Quotes of All Topics . Occasions . Authors
The standard way to record a meeting is to list people's names, the topics, and action items. The visual way is to doodle a rectangle (the table) populated by figures (the participants) sitting around the table with their comments as cartoon word balloons.
Design is a way of life, a point of view. It involves the whole complex of visual communications: talent, creative ability, manual skill, and technical knowledge. Aesthetics and economics, technology and psychology are intrinsically related to the process.
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.
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.
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.
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.
I rewatched a lot of 'Star Wars' when I did 'Rogue One,' and the thing I learned was that as a young person, consuming 'Star Wars' at the level that I consumed 'Star Wars,' it kind of molds your visual psyche, so you see the world in 'Star Wars'-ian fashion.
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.
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.
I think we will always have the impulse towards visual poetry with us, and I wouldn't agree with Bly that it's a bad thing. It depends on the ability of the individual poet to do it well, and to make a shape which is interesting enough to hold your attention.
I ended up going to college for visual arts but moved up to New York after I graduated from college in 2006 and started going gung ho to the Upright Citizens Brigade, and I realized that that was what I was really interested in and what I really wanted to do.
I really believe that the movie will never be as good as the book, both because the book goes on longer - a movie is basically an abridgment of a book - and because books are internal. But they are incredibly powerful. The visual format is, you know, amazing.
I'm a visual writer, so it's fitting that my first brush with 'Red Queen' was an image. I had the idea of a teenage girl in an arena, a bit like 'Gladiator,' and she's about to be executed. But instead of being killed, she kills her executioner with lightning.
'Mars et Avril' is a science fiction film. It's set in Montreal some 50 years in the future. No one had done that kind of movie in Quebec before because it's expensive, it's set in the future, and it's got tons of visual effects, and it's shot on green screen.
I didn't do so well in the academic world, so I think the only way I could express myself was through visual art - anything I could get my hands on, whether it was glassblowing, sculpture, painting, or photography. I always wanted to be a painter. Or a farmer.
In each medium - popular music, literature, and visual art, respectively - the woman has broken form, shed a skin, with each phase of her career, whereas the man has returned to ever-deepening iterations of the sound or sentence or imagery with which he began.
The ability to have somebody read something and see it, or for somebody to paint an entire landscape of visual imagery with just sheets of words - that's magical. That's what I've been trying to strive for - to draw a clear picture, to open up a new dimension.
I come from a family of storytellers. Growing up, my father would make up these stories about how he and my mother met and fell in love, and my mother would tell me these elaborately visual stories of growing up as a kid in New York, and I was always so enrapt.
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.
There aren't a lot of entertainment-based mediums, the visual or recorded mediums, that empower the audience to go off the next day and create it themselves. You can't watch a movie or a show and the next day say, 'I want to make that.' You have to go to school.
When I teach classes at the School of Visual Arts,, I'll ask the students, 'How many of you have been to a museum this year?' Nobody raises their hand and I go into a tirade. If you want to do something sharp and innovative, you have to know what went on before.
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 think each film I do has less and less dialogue. It really helps a lot for foreign sales, because when I go to Europe, there's very little problem with communication. All the gags are visual. The music they can understand, and it helps communicate a lot better.
What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.
It is difficult, but intriguing, to imagine seeing the world as a fly might. First, flies don't have nearly the same visual resolution that we do... so you have to imagine a fuzzier image. Second, fly eyes are faster than our own and are very sensitive to motion.
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.
But audio is a component of video, so there's always been that anyway, and although we've never expressed a visual side apart from the Grateful Dead movie, I don't find it that remote, you know what I mean? It's a departure of sorts, but it's like a first cousin.
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!
I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.
Julie Johnston is what I would call a loud central defender, as far as how she tackles and how she plays - you notice her. And you notice her in a positive way. She's a destroyer. She interrupts plays and tackles the crap out of people. That's a very visual thing.
Television is much more of a producer's writer's medium, so a lot of the time, when you're directing a television show, they have a color palette on set or a visual style and dynamic that's already been predetermined, and you just kind of have to follow the rules.
There's a lot of two-hander dialogue in 'True Detective,' and I needed to place those guys in locations where there were other levels of visual storytelling. It didn't necessarily have to move the plot forward, but it had to add tone or add to the overall feeling.
I think the filmmakers that I love are ones that cross genres and do different thinks, the way that David O. Russell can do something like 'Flirting With Disaster' but then go do 'Three Kings' which is like an incredibly visual film - that's a huge reference point.
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.
Film is mostly a visual medium, and so the director has much more control in terms of painting pictures and painting a performance. For theater, the director does everything he can and then says, 'Out you go,' and the actors are in charge of that stage every night.
And the camera position, the organization, looking for repeating forms, shapes, trying to set up a visual rhythm seemed to come very natural. All of a sudden I was in a forest of aluminum and steel rather than a forest that we might think of in a traditional sense.
One of my favorite ways to find fictional inspiration, by the way, is to browse historical timelines. I also like world atlases - any country with a squiggly coastline seems to inspire me, as do visual dictionaries, those reclusive creatures of the reference shelf.
What I take from writers I like is their economy - the ability to use language to very effective ends. The ability to have somebody read something and see it, or for somebody to paint an entire landscape of visual imagery with just sheets of words - that's magical.
For me, when I started writing, it was mostly poetry. And poetry is very visual. I feel the same way about the way that I approach direction. There might be a theme within the visuals that you're choosing that people don't consciously pick up on, but that they feel.
I don't really think about a visual aspect to the work at all; I just think about making the piece. And everything that occurs visually comes out of the subject matter you are dealing with so that I find it difficult to treat the visual element as a separate entity.
If one person in a group of ten is missing the tip of his little finger, I will notice it almost immediately. This extreme attention to visual detail is not a virtue, just a fact of my person. It happens seemingly involuntarily and strikes me as neither good nor bad.
Who thought it would be a good idea to undermine art in the school curriculum? Who thought studying the history of our visual culture was a waste of time? Who thought that only private schools should have that privilege? Was it someone who said we don't need experts?
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.
Movies are visual, aural, they involve people, and life, and ideas and art, they are so elastic. They can hold anything, withstand everything, and make you feel anything. Other arts can do that, but movies are the only ones that can incorporate other media into cinema.
I have suffered from migraines since childhood and have long been curious about my own aching head, my dizziness, my divine lifting feelings, my sparklers and black holes, and my single visual hallucination of a little pink man and a pink ox on the floor of my bedroom.
Technically, the green screen acting can be difficult because there's something worse than a tennis ball on the end of a stick; it's an Australian visual effects assistant running around a field with a cardboard dinosaur head on the end of a stick while wearing sandals.
I look at scripts, and sometimes I apply theory to them. For 'Antiviral,' for example, I was reading Laura Mulvey's 'Visual Pleasure and Narrative Cinema,' and it was all about the psychological process by which we fetishize the female image. It's all about scopophilia.
I am always telling students that a story is not just words. You can tell a story with dance or paint or music. Kids and adults are visual learners, auditory learners. There are those of us who need to touch it. Storytelling encompasses so much more than words on paper.
I guess if I was made responsible for every single line of dialogue in a game and every single piece of textual visual detail, every sign or piece of graffiti, then yes, I think that would be comparable to the time and effort required to write a very long novel, indeed.
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.