Quotes of All Topics . Occasions . Authors
Well, probably I was fed up with concrete poetry. There was a lot of bad concrete poetry and besides, it was confused with visual poetry which was completely different.
I'm a Mac user. I think it depends on how you were brought up, and I was introduced to Apple quite early. They're certainly the best for visual stuff and film-directing.
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.
So much of my poetry begins with something that I can describe in visual terms, so thinking about distance, thinking about how life begins and what might be watching us.
Music has always been a visual thing to me, so writing and drawing the 'Skin&Earth' comics, which tie cohesively with the music, was an obvious move for me as an artist.
I'd have been a filmmaker or a cartoonist or something else which extended from the visual arts into the making of narratives if I hadn't been able to shift into fiction.
The fruit flies we work with have the equivalent of about a 25 by 25 pixel camera. But that camera is very, very fast, about 10 times faster than the human visual system.
I really want to do a book on the history of the no-wave music scene in New York, how it extended out and formed lots of other things. It was such a great visual culture.
I don't think that my work is very moralistic - at least, I try to avoid that. I grew up with that sermonising tendency, and I don't think visual work operates like that.
We are using both visual biomarkers, MRI and a panel of blood and tissue testing including work on telomere length with Spectracell and Life Length and epigenetic testing.
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.
Life rarely presents fully finished photographs. An image evolves, often from a single strand of visual interest - a distant horizon, a moment of light, a held expression.
My love of visual sequences stems from live-action films like Sergio Leone westerns, Kurosawa, some '70s action films, Tex Avery, and my general love of animated movement.
I think the main influence has been living in New York City. Aside from all the crap around 9/11, I find it very demanding to think amid all the noise and visual pollution.
My parents made me take piano lessons from 1st grade to when I graduated from high school, and music never came to me as naturally as my other more visual artistic talents.
There are a lot of directors out there who are very specific, visual craftsmen, and while I have the utmost respect for that, they don't really communicate with the actors.
So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point.
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 am a great lover of art, in many forms: paintings, objets, textiles. I don't have the talent for painting, but I have a very good sense of colour, a love of visual beauty.
The visual information of art history is going to students seamlessly, without the enormous trouble those of us who are older had when we studied art history many years ago.
With movies, you are always in search is a good story, one that everyone will relate to and love. I love finding those stories and creating a visual world to tell the story.
I just dreamed about living in Paris and being French. I always loved the visual arts, film and theatre, and I hoped to be involved in creating beautiful products and images.
I just love films and any time you get to see a film with a good story, no matter how much money you have for visual effects, if the story isn't good it won't be a good film.
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.
I know some children's writers write for specific children, or for the children they once were, but I never have. I just thought children might like my sort of visual humour.
You can't get the visual thing on the record as much as you'd like to. We produced this album, and we'd never done that before, except when we produced singles for ourselves.
I think naturally I'm a very visual kind of person. If I wasn't in filmmaking, I'd be in something related to visuals. And I used to actually work as a visual-effects artist.
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 spend just as much time on how people hear my music as I do the actual music, no matter how long it takes. I'm such a visual artist as well that it always goes hand-in-hand.
Communication is the key, and it's one thing I had to learn-to talk to the actors. I was so involved with the visual and technical aspects that I would forget about the actors.
Writers need their totems, their altars. Mine, I feel, share the same randomness and utility of those belonging to painters I know, who are relentlessly visual and even poetic.
Aging is one of the most visual diseases on the planet and includes things that we all know like wrinkles and grey hair, but also brain atrophy, muscle wasting and organ damage.
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.
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.
I don't think music is the first thing I turn to. For me, I think visual art is more the thing. Sometimes when I've been doing music for a while, I can't really take any more in.
You cannot own a symphony or a novel in the way you can own a Damien Hirst. As a result there are far fewer fake symphonies or fake novels than there are fake works of visual art.
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.
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.
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 issue in Web accessibility is the fact that blind and visually-impaired people need the single biggest boost to achieve equivalence, since the real-world Web is a visual medium.
I'm a Banksy fan. I'm also a fan of Chris Hobe, Mister Totem, Drew Wootten, Mad Clout, Hense and Sever, in visual and street art. And Jonathan Mannion and Shane Nash in photography.
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 feel like visual art, the culinary arts, the theatrical arts - the medium changes, the tools that you use to tell whatever the story changes, but you're still all telling stories.
As someone that really likes painting and visual art but also likes video and movies and also music and recording and style and clothes, it was hard to pick what to do with my life.
I like living, breathing better than working... Each second, each breath is a work which is inscribed nowhere, which is neither visual nor cerebral. It's a kind of constant euphoria.
I've always been a very observant person, a visual person. That's my way of learning. Things on paper, notes and things like that, don't help me the same way as watching things live.
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.
A company's logo can be a visual ambassador, one that goes on everything from business cards to delivery trucks. When used effectively, it can be the window into the soul of a brand.
It's a nice visual. I had just done Blade and I put on more weight for Blade and I thought I might as well use it so I kept it and added a little more. I wanted him to be a big bear.
I'd say, in some ways, I'm very Bengali. I have a love of the arts - dance, music, visual arts - which I think is a very Bengali trait. I also love food, which I know is very Bengali!