Quotes of All Topics . Occasions . Authors
I'm more of a visual person, but I think that reading's extremely important. But I'm very easily distracted. It takes certain books to really grab you in.
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.
When you write music that you are very passionate about, being able to bring the visual aspect of it alive with the music is what ties everything together.
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.
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.
An illustration is a visual editorial - it's just as nuanced. Everything that goes into it is a call you make: every color, every line weight, every angle.
If you imagine yourself as a craftsman at ILM, you spend your days tumbling buses and animating shards of glass. You're doing a lot of visual effects work.
Visual ideas combined with technology combined with personal interpretation equals photography. Each must hold it's own; if it doesn't, the thing collapses.
'End of Summer' expands the way I want to express myself as a composer. It's a piece of visual music that has this narrative and conceptual dimension to it.
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 used to hate, with a capitol H, making videos. It was nothing but a chore. It was something you had to do to have your music accepted in the visual medium.
What you write sets the visual style for the film. But you have to compromise your style in your first few films before people let you do what you want to do.
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.
I find movies rely upon dialogue too much sometimes, and you lose the power of what really the most basic cinematic language is, which is the visual language.
Nothing scales quite the way a sci-fi feature does, I mean, you can always add more visual effects; you can spend a lot of money on the visual fidelity alone.
I have a visual sense for the music. It has to stay true to a certain sense of period. I rely on a sense of colors and mood in my approach to the arrangement.
I felt I really wanted to back off from music completely and just work within the visual arts in some way. I started painting quite passionately at that time.
In many respects, theater is still grappling with problems of reality and representation that the visual art movement realized were unimportant many years ago.
There's so many things about Babymetal you cannot just grasp with the sound. The visual has to compliment the sound, the costumes have to compliment the sound.
I began as a boy with artistic talent... as a visual artist... I thought that was what I'd become and in my late teens drifted into reading serious literature.
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.
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 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.
I'm a very visual person when it comes to writing music. I like to see something besides just a script, even if it's just a storyboard or pictures from the set.
One often thinks that using 2 different things like visual and sound lead to 2 different conclusions - to a different content - but in in my case it is all one.
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.
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 think a truly fantastic video is worth it. We spend so much time on the music, it only makes sense to have a really well-done visual translation of that music.
In music, they're not endlessly rewriting Beethoven's 'Third Symphony;' in visual art, they aren't painting portraits of 16th-century royalty. Art moves forward.
I think almost always that what gets me going with a story is the atmosphere, the visual imagery, and then I people it with characters, not the other way around.
My fiction has been influenced by the visual arts, though not in obvious ways, it seems to me. I don't offer tremendous amounts of visual information in my work.
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?
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.
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.
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.
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.
The visual for 'Holding The Gun' is a love story. It's about a ride or die and unapologetic type of love and a kind of loyalty that only comes once in a lifetime.
As bad as we are at remembering names and phone numbers and word-for-word instructions from our colleagues, we have really exceptional visual and spatial memories.
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.
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.
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.
When you're talking about Tim Burton, you're talking about a guy that has such a visual sense, an aesthetic, a storytelling style. It's like he's got his own genre.
While it's easy to sit back and cherry pick bad visual effects and blame the industry for making movies the way they are, you're really not seeing the whole picture.
When I started, I knew I didn't fit any visual that anyone was going to lie down and take their clothes off about. Work doesn't come to me; I go out and look for it.
I've always been a very visual creator. I make mood boards or sit with coloured pencils and scribble and try and figure out what I'm trying to work through musically.
Flowers are just a natural thing in my life. I gravitate towards them so much, just in every video that I do, every visual, for some reason, flowers are incorporated.
I was a rapper and a DJ, and if you wanted to be involved in hip-hop, you had to be involved in the sonic, the kinetic and the visual aspects. The visual was graffiti.
I can hear you and I can watch your mouth move, and then I put together the sounds and the visual image, and I can understand the words as I integrate the two signals.
Unlike a lot of choreographers, I don't always start with the music. I often start with a visual artist, and then find music that fits the world of that visual artist.
Fortnite, because of its visual style, it's widely acceptable to just about everyone. It's open up to a much wider audience than a realistic, military-style simulation.