Quotes of All Topics . Occasions . Authors
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.
With 'The Karate Kid' especially, there's been so many references and visual images from that film, you know? Who knew that 'Wax on, wax off' would become part of the American lexicon?
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.
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 continue to write essays about art. The visual is always part of my work, and it gives me immense pleasure to make up the words of art and create them verbally rather than build them.
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.
When I watch a movie I don't really care too much about the plot - not that it isn't important, but what I remember is the visual imagery, something that happens in an individual scene.
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'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.
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 love doing film soundtracks and working with directors on how they want the scene to be portrayed on audio as opposed to visual. I like the collaborative effort of working with people.
When people play action games, they're changing the brain's pathway responsible for visual processing. These games push the human visual system to the limits, and the brain adapts to it.
In the visual arts, particularly painting, I distrust all those abstractions, those artificial constructions. I have a very simple way of judging them: if I can do them, they are not art.
In comics, my experience has been mostly artists whose visual storytelling chops are either weak or they're more invested in rushing to a paycheck than in doing work they can be proud of.
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.
I've always loved painting, although I never show anyone what I've done. Mainly because I don't do it well. But it's like a form of visual diary for me. A way of fixing things in my mind.
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.
I try not to be overly literal. When I'm writing songs, I write down a lot of words, and then I try to simplify it. I like to give people hints or words that make visual pictures for them.
I have been a huge fan of ABRA ever since I discovered her in 2016. I love her gloomy fresh universe and her youthful unique vocals. Also I find her lyrics and visual output super exciting.
But being quiet and meditating on sound is something completely different and will be discovered very soon by a lot of people who feel that the visual world doesn't reach their soul anymore.
As far as putting stuff on social media, I think Instagram is really cool because I like the visual aspect. You're taking pictures, and you can put a filter on them, and it's super creative.
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.
Watching a documentary with people hacking their way through some polar wasteland is merely a visual. Actually trying to deal with cold that can literally kill you is quite a different thing.
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.
When you're too robotic and scripted, the students tune you out. So I always tried to use different learning modalities - kinesthetic, auditory, visual, whatever might bring learning to life.
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.
I think visual seduction is really a lovely thing. To be able to look at something and feel you want to get closer and closer to it, and as you get closer to it, the more you drop your guard.
The thing with computer-generated imagery is that it's an incredibly powerful tool for making better visual effects. But I believe in an absolute difference between animation and photography.
I wish myself to be a prop, if anything, for my songs. I want to be the vehicle for my songs. I would like to colour the material with as much visual expression as is necessary for that song.
We share a huge visual memory bank, mostly through painting and other images in history. I think when a modern photograph taps into those, sometimes very subliminally, it makes people respond.
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.
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.
Visual effects have always been a part of this art form. And CG is simply a tool on the filmmaker's tool belt to tell a story, but when the end result is bad - maybe it's not the tool's fault.
I write about art out of gratitude to painters for the joy and spiritual uplift they have given me. Painters interpret for us the visual glories of God and, in this way, bring us closer to Him.
When you're looking that far out, you're giving people their place in the universe, it touches people. Science is often visual, so it doesn't need translation. It's like poetry, it touches you.
I've always been interested in visual art and used to be much more into theater when I was younger, or more knowledgeable about what's going on. And literature has played a big part in my life.
Ever since I can remember, I drew, and visual arts have been my main way to express myself. I like dancing, although I've never done that very seriously. It's something I'd like to explore more.
I mean, making art is about objectifying your experience of the world, transforming the flow of moments into something visual, or textual, or musical, whatever. Art creates a kind of commentary.
Everything you see is filtered through your visual system (imperfect) and your brain (also imperfect, despite what your mom told you). Witness testimony is the worst kind of evidence in science.
I am very much aware of the visual side of things. I do a lot of photography. I often take Polaroids of things that strike me as visually interesting, just to remember them and perhaps use later.
If I have to name someone who is responsible for me coming to films, it is Ilayaraja's music. From a young age, I've been a huge fan of his music. Because of that, I studied Visual Communication.
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.
Because I found myself telling the story of his family to people without the visual aids that I was able to employ by filming them eventually. But I very much knew exactly what I was going to do.
The goal with a show is to push forward the passion in a visual and sonic way. It all comes out in a trance-like way, fast and pulsating. Then people can go home and think about the lyrics later.
I've had three Eurovision winners: two with Johnny Logan and one with Linda Martin and even Jedward did great, because 'Lipstick' was a great song and they had a great show. It was a great visual.
I was always a visual artist my whole life, and I came to music really late - when I was 21 or 22 was the first time I ever touched a musical instrument. For me, it was always this fun side hobby.
I had joined Marvel in 1967, after a year in Vietnam and three years as a student at the School of Visual Arts in Manhattan. Stan Lee, then the editor-in-chief, hired me as a production assistant.
Big cities are chaotic. And chaos for humans - who have experience from their ancestors - is the last step before conflict. So, in the park, every kind of visual contradiction has been eliminated.
I've never really seen too much difference between writing or making visual art or designing furniture or clothing. It's still my brain - I'm just using different parts of it for different things.
There's a sadness to the human condition that I think music is good for. It gives a counterpoint to the visual beauty, and adds depth to pictures that they wouldn't have if the music wasn't there.