I'm interested in visual vocabulary, like Warhol was interested in that vocabulary of advertisements and television and pop culture.
Art about art and backstory has taken over visual pleasure.
Why take notes? The obvious reason is to remember. Visual note-taking translates what we hear into pictures that give context, color, and meaning. By adding symbols, visual metaphors, likenesses of people, and room layouts, we add several dimensions.
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.
I love 'An American in Paris.' That's the one for me. Some of the visual ideas in that film are just haunting and very free.
I fear that my mind would starve and that I might find myself in danger if I had no visual information, that it's chiefly the light, the shapes, the spaces, the colors that I see that compel me to keep moving forward in life and that keep me safe.
Maybe 'Vicky Cristina Barcelona' didn't have a lot of visual effects in it, but most movies have some sort of visual effects.
'Sanam Re' is an amalgamation of an emotional love story and a visual treat.
The late 20th century had just enough communication abilities to allow superstar-ness and communality to happen. It was a musical renaissance that rivals the visual one that happened in the 1400s.
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 was a rapper and a DJ, and if you wanted to be involved in hip-hop, you had to be involved in the sonic, the kinetic and the visual aspects. The visual was graffiti.
I have a good visual memory. I'm good with faces, but names - I get in trouble a lot; I can't seem to remember people. People think I'm rude. As a side comment, you know, I'm not being rude: I just kind of blank out.
What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.
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.
When I first start writing a song, I usually write the title first, then the song, and I'll sing the song in my head and think of a visual of the song. If I can't think of a visual behind the song, I'll throw the song away.
In animation, what's wonderful is that when you start to work with multiple nationalities, the common language becomes a visual language rather than a spoken language, which blends beautifully with the art form.
It's hard to brief in the Oval. You know, you can't - no visual aids, hard to roll out something in front of somebody.
The image of the band has always been something that's evolved or changed with every record cycle that we've done. I think, in a lot of respects, that's because we were so interested in having a visual representation for the music that we were making.
The two sensibilities, the visual and the verbal, have always been linked for me - in fact, while reading a particularly evocative passage, I will imagine what the photograph I'd take of that scene would look like, even with burning and dodging notes. Maybe everyone does this.
When you're underwater with goggles on, a couple of your senses are taken away, and it becomes this purely visual thing. It's just you and yourself.
I moved out to Los Angeles with the idea of becoming a director, which thousands, if not tens and hundreds of thousands, of people do, every year. It's a very competitive field, of course. I immediately got swept away into the visual side of things, starting with visual effects, and then designing.
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 look at scripts, and sometimes I apply theory to them. For 'Antiviral,' for example, I was reading Laura Mulvey's 'Visual Pleasure and Narrative Cinema,' and it was all about the psychological process by which we fetishize the female image. It's all about scopophilia.
We've been surrounded by images of space our whole lives, from the speculative images of science fiction to the inspirational visions of artists to the increasingly beautiful pictures made possible by complex technologies. But whilst we have an overwhelmingly vivid visual understanding of space, we have no sense of what space sounds like.
I read things and imagine them and then kind of start trying to kind of take what I imagine and make it visual for everybody else to see. It just happens to be my personal vision, and every person's is going to be different, every book reader.
Well, the medium of film is so different than a book that just by bringing it into visual storytelling is to change it up. I think in a book, in any book, you can have a reactive character. Some of the great novels of all time have had that, but in a film you can't do that.
When I was thinking of video ideas for this song, I wanted it to reflect the energy of the music and express the big eye roll that 'Sit Here and Cry' is. I had a very specific visual vision for it, and when I saw Sam Siske's reel, I knew he was going to get it.
We have grown up in an age where there is nothing that cannot now, courtesy of computer-generated imagery, be convincingly rendered in the visual field.
In each medium - popular music, literature, and visual art, respectively - the woman has broken form, shed a skin, with each phase of her career, whereas the man has returned to ever-deepening iterations of the sound or sentence or imagery with which he began.
I think stories can grow out of the visual. It can be an engine for literacy.
The visual architecture of 'Biutiful' is the most sophisticated of all the films I have directed.
I guess if I was made responsible for every single line of dialogue in a game and every single piece of textual visual detail, every sign or piece of graffiti, then yes, I think that would be comparable to the time and effort required to write a very long novel, indeed.
There is no society ever discovered in the remotest corner of the world that has not had something that we would consider the arts. Visual arts - decoration of surfaces and bodies - appears to be a human universal.
But considering that I walked in expecting no complexity at all, let alone the visual wonderments, 'Snow White and the Huntsman' is a considerable experience.
Fat people are so rarely included in visual culture that fat is perceived as a blot on the landscape of sleek and slim.
The visual aspect of a dish is so important; the shapes and colors and overall design have to strike the right mood and convey the right idea.
