Written and directed by French showman Georges Melies, 'Le Voyage' features one of the most indelible images in cinema history: the wounded Man in the Moon bleeding like a particularly runny Brie, grimacing in pain with a space capsule protruding from his right eye.
I always collect a bunch of images for every film that I do, that reminds me of an essence of the character, or the time that they live in, or what they're experiencing.
I'm attracted to images that come from a personal exploration of a subject matter. When they have a personal stamp to them, then I think it becomes identifiable.
My true function within a society which embraces all of us is to continue an age-old tradition. This tradition is to create images from the depths of the imagination and to give them form, whether visual, intellectual or musical.
It's pretty strange because you have images of people in your head when you left, then you just think they're going to be the same when you come back, like time freezes. I have sisters and from the ages of 11 to 13 - it's a big change for girls.
These days, I like to think of sentences as workers. Only one of their jobs is to look and sound good. Sentences are the carriers of plot. They're the conjurers of images, the conveyors of tone and meaning and voice. The best sentences surprise us.
My films are an extension of my poetry, using the white screen like the white page to be filled with images.
If you look at landscape in historical terms, you realize that most of the time we have been on Earth as a species, what has fallen on our retina is landscape, not images of buildings and cars and street lights.
Even in China. Children there, next to the Great Wall, who had never seen Mickey Mouse responded. So the studio did have that skill to communicate with images.
As a photographer, I'm interested in how dramatically photography has changed. Most images are not real or are composites, and most of us don't even know it anymore.
I know people watch our movies and they'll see a lot of images - they call it gross-out - that they don't like, and I understand that. It's an important movie and one that's extremely well done, but the amount of violent imagery was not for me.
Some hypocrites and seeming mortified men, that held down their heads, were like the little images that they place in the very bowing of the vaults of churches, that look as if they held up the church, but are but puppets.
Some of the words and symbols and images from childhood will continually be part and parcel of my personality.
The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.
For me, documentary photography has always come with great responsibility. Not just to tell the story honestly and with empathy, but also to make sure the right people hear it. When you photograph somebody who is in pain or discomfort, they trust you to make sure the images will act as their advocate.
Showing 'Get Out' to a room full of strangers and having them react lets them be introspective and see the way certain images affect other people.
The most ordinary word, when put into place, suddenly acquires brilliance. That is the brilliance with which your images must shine.
I see that all of us who live are nothing but images or insubstantial shadow.
Most of the images of reality on which we base our actions are really based on vicarious experience.
Initially, the horrific images of September 11th triggered an enormous wave of solidarity.
The deceptive, glossy media images of faces, bodies and social lifestyles, make us hate ourselves so we will buy a solution to love ourselves once again.
People see images now more than they see movies.
I'm drawn to the unconventional because I've been drawn unconventionally. I believe that I'm supposed to topple over these false images of what's idealistically beautiful. Because, of course, these intangible qualities are very attractive to women. Sincerity. Sense of humor. Success.
Words to me were magic. You could say a word and it could conjure up all kinds of images or feelings or a chilly sensation or whatever. It was amazing to me that words had this power.
Arthur Young's Reflexive Universe - fascinating but too schematic to fit into my scheme. The most I could hope for was a sense of the vocabulary and some possible images.
Before I write a novel, images float around in my head that work like icons - they are meaningless in themselves, but serve as reminders.
I went to a Chekhov play with my grandmother, and at the end, I was talking about how the first act was so boring. And my grandmother didn't see that at all. I realized it was because I need, like, the constant images changing. I wrote a paper about this.
AdNectar specializes in deploying branded virtual items across top social networking properties and applications. Virtual items are images sent to communicate a message between users of social media.
I trust the readers to build their own visual images. To me, that's part of the wonder of reading.
But my estimates, for instance, based upon book information, were simply ridiculous, fanciful images of African attractions were soon dissipated, anticipated pleasures vanished, and all crude ideas began to resolve themselves into shape.
While technology efficiently delivers news stories to our desktops, laptops and mobile devices, magazines are all about context - how ideas and images are presented in relation to one another and within a larger point of view.
In film you can use images exclusively and narrate a whole story very quickly, but you don't always so easily find the form in cinema to dig deeper into human thoughts and emotions. And in a novel you can much more easily express a character's inner thoughts and feelings.
My parents had this relationship that was really terrifying. I mean, the level of hatred that they had, and the level of physical abuse - my mother would beat up my father, basically - and I think I was drawn to images on television that were bright and reflective.
You gotta understand, when moving images first started, people wanted sound, color, big screen and depth.
My books come to me in images, and sometimes the image is at the beginning of the book, and sometimes it's simply a flash somewhere in the middle.
You can use your means in a good and bad way. In German-speaking art, we had such a bad experience with the Third Reich, when stories and images were used to tell lies. After the war, literature was careful not to do the same, which is why writers began to reflect on the stories they told and to make readers part of their texts. I do the same.
