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.
While it’s easy to sit back and cherry pick bad visual effects and blame the industry for making movies the way they are, you’re really not seeing the whole picture.
If you create a visual that actually captures the imagination, that’s not real. It will look real, and that will spread at such lightning speed that by the time it’s found out, it has already done its damage. It’s a very, very scary time that we’re living in. I say it’s an age of absurdity.
I think visual seduction is really a lovely thing. To be able to look at something and feel you want to get closer and closer to it, and as you get closer to it, the more you drop your guard.
Animation offers a medium of story telling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world.
I think that if someone told me I could have been a visual artist, I might have been a visual artist instead. And if I’d known I could have done art history, I would have done that. But I just didn’t know.
I’ve always been interested in visual art and used to be much more into theater when I was younger, or more knowledgeable about what’s going on. And literature has played a big part in my life.
If you respond to pop music as an older person, then it’s your game. But this business has a tremendously visual focus.
I love visual mediums, and I’ve always painted and drawn.
I’m a visual learner, so with hand-eye coordination, I was a natural.
Sometimes when you get in this game, you think that you’re going to take off if you do a song with someone big. But that’s not the truth. Everything with you got to be good – the visual, the push, the production.
I don’t paint. I am a hobbyist photographer, so I relate to the visual arts that way, but I’m not a painter.
A lot of the work in, say, construction or restaurants involves visual and motor flexibility. It also requires adaptability, in terms of answering questions, giving people directions, or taking orders.
I love visual gags and gimmicks; I love them.
There’s definitely a visual aspect and an emotional aspect to a song. And that harks back, for me, to theater.
But in the old days, visual artists used to fall into two distinct categories: those of us who created images with cameras and those of us who applied stuff onto other stuff, with brushes or other tools.
As a visual person, I love a creative resume. Putting in a little effort on the design side will show that you care about making things look good.
Film and theater are about misdirection and making the audience see something. I find it interesting. One of the things we do in ‘True Blood’ is shoot all of our stunts in camera. Instead of doing some kind of visual effect, we try to make it happen.
If we do another ‘Deadpool,’ we’d love to have more money for visual effects. But I don’t think anybody does good with an excess of time or money.
The small visual inconvenience of e-books is made up for with find and search functions, and the fungibility of digital text.
The Hulk was a unique character because of his strength and power. He doesn’t have a costume like Spiderman or like Superman – The Hulk is more visual. His passion and his strength, that is what separates him from anything else.
What I take from writers I like is their economy – the ability to use language to very effective ends. The ability to have somebody read something and see it, or for somebody to paint an entire landscape of visual imagery with just sheets of words – that’s magical.
Frank is such a great visual storyteller, that if you study his artwork you see that his Sin City books are already the best movies never seen on the big screen.
I remember from my school days Archimedes jumping into his bath and displacing water and coming up with his famous principle, and of course Isaac Newton being hit on the head with an apple. In other words, this realm of human knowledge – which is mathematical, essentially – can have a playful visual element to it.
At the age of 80, I’m becoming a visual artist. This could be my rebirth.
Writers need their totems, their altars. Mine, I feel, share the same randomness and utility of those belonging to painters I know, who are relentlessly visual and even poetic.
Smells are so powerful and evocative, sometimes stronger than visual cues.
I guess why the Ocean’s films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it’s a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.
With ‘Anna Karenina,’ I just think it’s a stunning visual tour de force for a director who is at the top of his game.
I was always a visual artist my whole life, and I came to music really late – when I was 21 or 22 was the first time I ever touched a musical instrument. For me, it was always this fun side hobby.
What’s great is that each medium has a unique set of things that it does and does well. Film is a visual medium, and obviously, you can’t fit a whole book into two hours unless you’re really economical about it. Obviously, they say a picture is worth a thousand words, and on some level, it’s sort of true.
Radiohead showed a real affinity to being bold with visual imagery, so it came as no surprise when Jonny Greenwood did ‘There Will Be Blood.’
The visual of Deadpool was very informed by Spider-Man.
I wish myself to be a prop, if anything, for my songs. I want to be the vehicle for my songs. I would like to colour the material with as much visual expression as is necessary for that song.
I’m a visual person – when I write, my input is always visual. I worked in television for several years.
I love the visual medium of film and TV. I love the science of it, working with the sound and the lighting and every aspect.
I trust the readers to build their own visual images. To me, that’s part of the wonder of reading.
It’s a visual world and people respond to visuals.
‘Detroit 1-8-7’ – the numbers are police slang for murder – is filmed in that blue-collar Michigan city, providing a flavor of authenticity. Detroit offers a unique visual landscape that tells the story of the city and what it’s been through.
My memory is basically visual: that’s what I remember, rooms and landscapes. What I do not remember are what the people in these room were telling me. I never see letters or sentences when I write or read, but only the images they produce.
In high school and college, I’d set a bunch of goals for myself. I wanted to be the lead effects supervisor on one of these really big, innovative visual effects productions, something on the scale of a ‘Star Wars’ movie. And I wanted to work on a project that wins the Academy Award for best visual effects.
Fortnite, because of its visual style, it’s widely acceptable to just about everyone. It’s open up to a much wider audience than a realistic, military-style simulation.
A lot has changed due to the rise of smartphones and the proliferation of social media: today, visual content is the language of our time.
Dialogue should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms.
I have an unusual type of thinking. I have no visual memory whatsoever. Everything is conceptual to me.
But I think we’re also just talking about the literacy of the audience. The visual literacy of the audience. They’ve seen so many images now, especially here in the States. There’s so much to look at, to watch. So the visual storytelling literacy is harder to impress.
A visual understanding of great composition and how to use a camera and expensive lenses can be learned, but drive and a real hunger for making photos and telling stories… I don’t think that part can be learned. You either have that inside, or you don’t.
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.
By the visual pattern, but mostly I’m guided entirely by my ear, what I hear.
I used to try and make up visually for what I couldn’t play as a musician. I used to get into very incredible visual things where, in order just to make one chord more lethal, I’d make it a really lethal looking thing, whereas really it’s just going to be picked normally.
Film is a temporal medium as much as it is a visual medium: you’re playing with time, and you don’t have that ability where someone can pause at home. That’s such a fundamental part of what makes filmmaking exciting to me. I don’t really have as much interest in any other medium. I just like the control.
The visual life is an enormous undertaking, practically unattainable.
The way it works in commercials is they come to you with the script, and then you do the visual, you do the storyboards, and you give your vision of it, but it’s very much their baby. You just kind of put your polish and sheen on it and your interpretation of it, but it’s very much the agency’s idea.
I always say that I’m an artist who works with pictures and words, so I think that the different aspects of my activity, whether it’s writing criticism, or doing visual work that incorporates writing, or teaching, or curating, is all of a single cloth, and I don’t make any separation in terms of those practices.
