I think that's one of the first things you'd say if you met me: that I am just nice and smiley. And that's how I might appear when I'm not competing. But I'm totally different when it comes to sport. It's just something that seems to be within me. It's not external or visual. But it's within me.
Julie Johnston is what I would call a loud central defender, as far as how she tackles and how she plays - you notice her. And you notice her in a positive way. She's a destroyer. She interrupts plays and tackles the crap out of people. That's a very visual thing.
There are a lot of artists in Gowanus, and certain things come into your visual vocabulary from living there - the scale of the subway and the canal, sometimes it almost looks like a de Chirico painting, with the intense angles of the shadows and everything.
Dan Curry is the funniest guy in the world. I can sit in a room with him for hours, and he's just cracking me up constantly. And Kitao is the next Terry Gilliam. A lot of comedy directors are just comedic writers, but they don't have any sense of aesthetic or visual vocabulary.
I met a 13-year-old black child, Raymond, who had never been to school and had never learnt any words, yet it seemed to me that he was intelligent. It became apparent after a short period that Raymond thought in terms of visual signs and movements.
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.
There's definitely a visual aspect and an emotional aspect to a song. And that harks back, for me, to theater.
I feed on other people's creativity, photographers, artists of every kind. Sometimes a feeling that you get listening to a song can be so powerful. I've wanted to write whole scripts around what I felt just listening to a piece of music. I think music is important, and surrounding your visual field with stimulating things.
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.
Film is much more visual, a scene is typically a lot shorter, you're dealing with a lot more characters, a lot more locations, and you're able to rely on things that you just can never do on the stage.
I had done student films for the School Of Visual Arts and for NYU and all these schools in New York, so those were my first film experiences, but they were student films, so I guess they don't really count.
If the Frieze Art Fair catches on, I imagine at least two great things happening. First, we will once again have a huge art fair in town that isn't too annoying to go to. More importantly, Frieze may finally show New Yorkers that we can cross our own waters for visual culture. That would change everything.
The work that I feel is most authentically mine is the one that is my first reaction, the first thing that feels like the truth. In aggregate, those choices, those series of decisions, create your point of view, your visual language.
I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.
As a young actor, I would be invited to the CBC radio drama department to do voices for different characters, and I found that I could do quite a few of them. I wasn't a visual presence, and I found it easier to construct a voice from the written page.
Television is much more of a producer's writer's medium, so a lot of the time, when you're directing a television show, they have a color palette on set or a visual style and dynamic that's already been predetermined, and you just kind of have to follow the rules.
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.
I think that maybe growing up and being dyslexic early on, the visual quality of cookbooks specifically was something very enticing to me.
I grew up watching movies and being amazed at the animatronics you'd see in stuff like 'The Dark Crystal,' and all those kinds of movies. So, I'm always enthralled with how they can make it all work, behind the scenes, with the visual effects.
When I make music, it's a very visual thing. Conjures up a lot of images.
You are either visual or you're not.
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.
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.
Semiotics is a general theory of all existing languages... all forms of communication - visual, tactile, and so on... There is general semiotics, which is a philosophical approach to this field, and then there are many specific semiotics.
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.
'District 9', 'Elysium' and 'Chappie' were all born out of some visual concept first. 'Chappie' is the imagery, because I think I'm a visual person first, of this ridiculous robot character. It's much more comedy based and in an unusual setting.
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.
Essentially a joke is creating an idea, whether sonic or visual, whether it's something musical or a traditional joke.
I really, really liked shooting and doing the scene with Emilia Clarke and Peter Dinklage at the end of 'Winds of Winter,' when she gives him the Hand of the Queen. Because we shot it very simply. We felt like we had managed to do something that was visual but really was a very intimate scene between two people.
It's a visual world and people respond to visuals.
I've always had a kind of visual eye, and it was a pleasant exercise for that.
I wanted to create this dialogue between music and visual art and vice versa. No matter what part of the spectrum they fill, whether it's visual, music, or whatever, artists are interested in other art forms. Your brain is already kind of firing in that way.
