What I try to do is the art of building, and the art of building is the art of construction; it is not only about forms and shapes and images.
Film is important; it can be more than reportage or a novel - it creates images people have never seen before, never imagined they'd see, maybe because they needed someone else to imagine them.
Because Bin Laden's culture doesn't permit the worship of images, they understand how powerful images are. We wouldn't have thought of creating a visual bomb. In a way, he's chopped down two iconic buildings, and used our very truth imagery, to express himself. It's fascinating... I mean, dreadful.
For whatever reason, from a young age I've always been able to shoot images and cut them together with sound in a way that was very engaging.
Tarots tell different sides of the various personalities that exist in all of us. I find it fascinating how they combine names, images, and numbers. You don't need to be able to read them, or know their real meaning, to be charmed.
In almost all my work, I try to re-invent Christian images and stories and themes. You'd be amazed by the letters I get from young Christians who recognise this and enjoy it.
We continually hear from our engaged customer base that Shutterstock's content is a true differentiator, given not only the size of the library but also the quality and diversity of the images we offer.
Pictures artists staged their own images or copied or cut out others already in existence. The viewer took them in separately, in sometimes paradoxical waves: an original image, then the manipulations of it, then the places where image and idea intersected. This created a crucial perceptual glitch that irony and understanding filled.
Anorexia is a response to cultural images of the female body - waiflike, angular - that both capitulates to the ideal and also mocks it, strips away all the ancillary signs of sexuality, strips away breasts and hips and butt and leaves in their place a garish caricature, a cruel cartoon of flesh and bone.
I spend a lot of time writing. I get inspiration from texts rather than images.
On the 11th anniversary of 9/11, it is some consolation that the man most responsible for that terrible morning will not be smiling smugly to himself as satellite TV brings to the leafy boulevards of Abbottabad the somber images of New Yorkers commemorating those who perished in the Twin Towers.
This is a culture filled with perfect images of women and perfect images of movie actresses, and most people can't live up to them.
Even tiny children looking at a picture book are using their imaginations, gleaning clues from the images to understand what is happening, and perhaps using the throwaway details which the illustrator includes to add their own elements to the story.
Even with an improperly ground mirror, the Hubble delivered extraordinary images. When the flaw was corrected, the Hubble delivered images of transcendent beauty and value for many years. So too 'Terra Nova.' Even in its flawed first season, each episode was full of marvelous moments and beautiful images.
Deep down, all directors feel like frauds - because it's built into the nature of the job. You're the jack of all trades and the master of none. The cameraman knows the camera, the sound man knows the sound equipment - and you? You can't do anything: You can't do the acting, you can't dress the set, you don't record the sound or shoot the images.
I felt the most effective way to change people's perception was through the power of images.
I work a lot; I love to compose, ponder, and take notes when preparing for a role. I cut all the scenes, collate the images, form the character and shape its personality, then I make meticulous notes and transcribe each scene on my notebook.
I can't stand modern movies. The images are too weird and eccentric for me.
When you reach the editing stage, it is often the case that you can get too involved with the story to detect errors. You can see words in your head that aren't actually there on the page, sentences blur together and errors escape you, and you follow plot threads and see only the images in your skull.
One day I am at home, watching dramatic images of Iraqi Yazidis fleeing for their lives being aired nonstop on 24-hour news channels. Days later, I am there, staring at tens of thousands of displaced Iraqis and feeling a 35-millimeter frame cannot capture the scope of devastation and heartbreak before me.
I give the spectator the possibility of participating. The audience completes the film by thinking about it; those who watch must not be just consumers ingesting spoon-fed images.
As computers have become more powerful, computer graphics have advanced to the point where it's possible to create photo-realistic images. The bottleneck wasn't, 'How do we make pixels prettier?' It was, 'How do we engage with them more?'
I spend a lot of time practicing active imagination before I go to sleep. What I'm feeling will manifest as images through active imagination. And then I go to sleep, and those play out even more in my dreams.
In any country, in any city, there will be political influence on what is said, what kind of images are to be projected and, yes, of course artists can be and are influenced by politicians.
A lot of the images I use are already out there in the public or in the news. I just steal them or photograph them or repaint them, so they've already been talked about, already been consumed.
I was spoiled growing up in the 1970s because magazines were publishing the photographs of Helmut Newton and Guy Bourdin without compromise. You really felt that sense of freedom through their images.
I have a store full of thousands and thousands of images in my brain. I've got this terrible feeling I'm like some abattoir boss: I know death; I know the cut pieces of the human body.
Happiness, as a word, has become sort of equated with these smiling images on television, selling some nice cream or food product or something. It's seen a bit as being a stupid consumer.
The way we tell our stories on stage is that we use spoken word to convey action, and in movies, we use visual images to convey action.
In 1979, I moved to England and photographed Joy Division and Bowie and Beefheart. At that time I got images that I felt had that special, well - power is a big word to say - more like intimacy and ambition that outlasted the photo shoot. I felt that they would have a longer life.
When I make music, it's a very visual thing. Conjures up a lot of images.
I think technology has advanced so far now that there are some cameras on the market that give film a run for its money. It's all about flexibility in capturing images, and digital or film, it doesn't matter to me.
Media images are so important to young people feeling positive about themselves.
I began to despise Lenin, even when I was in the first grade, not so much because of his political philosophy or practice... but because of his omnipresent images.
If you look at the history of Wonder Woman, you look at the iconography, the images that have kept her alive - they're not dark. The thing I think is so important to always keep in mind about her is how positive and bright and shiny she is - very much in the same way that Superman has been.
Sometimes when I write lyrics there are images in them, usually on a quite simplistic level, like colors. But most often music comes first and then later I sit down with visual people and we chat about what we want to do. I don't look at myself as a visual artist. I make music.