In France, they call the people who come to the theatre ‘les spectateurs’; in Britain and Ireland, they are the audience, the people who listen. This does not mean the French are not interested in language. On the contrary. It actually says more about the undeveloped visual sense over here.
I’m not a visual guy. I’m audio. I’m a musician. I know what I do. I play guitar, and in my category I’m doing O.K.
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.
Evidently the arts, all the visual arts, are becoming more democratic in the worst sense of the word.
I really like books that you can kind of hear as much as think about, that are so graphic and visual.
Well, I think my stand-up is often kind of visual. Not like Carrot Top visual, but visual.
When The Temptations began, we wanted to be visual. So we did our own choreography and developed our own uniforms.
You don’t work in a vacuum. If you’re a visual artist you work in a visual culture. If you’re a pop musician you listen to pop music. If you’re an artist you should know about the art world.
As a visual storyteller, a lot is learning what to include so you’re not being redundant between images and text.
I felt I really wanted to back off from music completely and just work within the visual arts in some way. I started painting quite passionately at that time.
I see my music as a visual thing. When I’m on stage I am very expressive with my face and through my performance – kind of like an actress but not really, it just rises up from inside with the music.
It’s pretty hard to measure influence of written or visual material.
One of the reasons why I think virtual reality, as a narrative format, is never going to go beyond the short-form immersion space is because the bedrock of visual storytelling is the reverse angle. If you can’t look into the eyes of the protagonist, you cannot hold people’s attention for more than 15 minutes.
More than anything, there are more images in evil. Evil is based far more on the visual, whereas good has no good images at all.
I am in a visual medium and should be able to compete with every good-looking actress.
If the seams are showing, there is something wrong with the performance or the construction of the piece. This idea is completely at odds with our modern visual experience, because everything today is based on montage.
I know that everyone who listens to radio creates you in a visual image that they need you to have. Whatever that is, I thought, let them have it. Let me be who the listener needs me to be and let me not contradict that with the reality of my photograph and risk disappointing them.
I can’t think of how many meetings I’ve sat through where people have explained that language has become less important because we now live in a visual age.
Portraying visual impairment is difficult. I can see what’s going on, but I have to act like I can see nothing. And this can be quite a challenge.
I don’t really have a drive toward being a director at all. Not that I wouldn’t rule it out, but I just don’t think my instincts lie necessarily in a very visual way. But I am very interested in storytelling, narrative and character development, so writing is something that I absolutely want to do.
When you’re a kid, you learn whatever your parents think until you start taking in media. Because all your friends are your age as well, media is the third parent that you ever have. So I think about that a lot, what visual imagery is teaching us, and media in general having a huge impact.
I’m very interested in how visual artists think because I think the way that I think about music is similar. I’m very inspired by aesthetics and space.
I think almost always that what gets me going with a story is the atmosphere, the visual imagery, and then I people it with characters, not the other way around.
Visual storytelling of one kind or another has been around since cavemen were drawing on the walls.
It’s thought that about 96% of us have visual imagery, and there’s a very tiny minority in the population, some of whom are normal, some of whom have brain lesions, who cannot produce visual imagery.
Art about art and backstory has taken over visual pleasure.
Boys, young men, men of all ages are being captivated by the new visual grammar which pushes men to pout and posture.
It’s a nice visual. I had just done Blade and I put on more weight for Blade and I thought I might as well use it so I kept it and added a little more. I wanted him to be a big bear.
I gravitated to New York City in the late ’70s to pursue a career in visual art, which is what I trained in at university.
I started doing visual effects for many years, and after that, I became an actor.
Our public description, a visual bookmarking tool, tends to resonate with people. That’s why we use it. When we talk to the tech press we tend to describe it as a company solving a discovery problem.
I am always telling students that a story is not just words. You can tell a story with dance or paint or music. Kids and adults are visual learners, auditory learners. There are those of us who need to touch it. Storytelling encompasses so much more than words on paper.
As a director, I start with the visual.
I often find myself privately stewing about much British art, thinking that except for their tremendous gardens, that the English are not primarily visual artists, and are, in nearly unsurpassable ways, literary.
A visual image in the hand of an artist is merely a tool to trigger a mental image.
Drawing is not only a way to come up with pictures: drawing is a way to educate your eye to understand visual information, organizing it into a more hierarchical way, a more economical way. When you see something, if you draw often and frequently, you examine a room very differently.
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.
I have a visual sense for the music. It has to stay true to a certain sense of period. I rely on a sense of colors and mood in my approach to the arrangement.
‘Mayabazar’ was the film I immensely loved as a kid. Only when I became a filmmaker about 20 years later did I realise its technical marvel and what a great epic it was. I and my visual effects supervisor, while making ‘Yamadonga,’ took two days to understand the magnification shot of Ghatothkatcha’s persona.
I love making up visual works of art in language. I get to be an artist without actually being an artist in that sense.
I try to make songs visual and tactile to kind of put you into the action.
I’m into old-time music; I’m not very interested in modern, popular music at all. And if I’m really into some particular old-time musician, some fiddler or banjo player, I’m always dying of curiosity to see what they look like. So there’s some connection between visual images and music.
I’m a very visual person, and I love opening beautiful books on art or design and looking through them.
I like working closely with artists. I think that’s very important in fantasy and science fiction – the visual aspect of the worlds and the characters.
I watch a couple of fights to get a visual image in my head. I don’t like doing a lot of research on my opponents; I leave that to my coaches.
Marilyn Monroe and Vivienne Leigh are real icons of mine. In terms of visual culture, they are both so iconic. There weren’t any paparazzi shots of them falling out of taxis, so they will always look so incredible.
Words aren’t very good at describing complicated, strange visual things. You can try, and the reader will have some sort of image in their mind, but words aren’t good at that.
After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.
The visual information of art history is going to students seamlessly, without the enormous trouble those of us who are older had when we studied art history many years ago.
In the course of our daily lives, we’re bombarded with a barrage of visual messages, some blatantly aggressive, some subtle. The trick is to find a way to break through without adding to the clutter and the ugliness. We have to be responsible about that.
Doing representations of real people is not my strongpoint as a visual artist, and I know that.
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.
You can’t get the visual thing on the record as much as you’d like to. We produced this album, and we’d never done that before, except when we produced singles for ourselves.
For ages I thought I’d wasted my career doing visual effects, I wanted to be a filmmaker. And then I’ve learnt at the end of it all that actually visual effects was probably the best training ground I could have had.
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.
