My visual medium is my videos, and I’ve got to feel as though I can put my truth in that.
In the same way that musicians inspire me, artists and photographers like David LaChapelle influence me with their visuals. A photographer like LaChapelle creates an entirely new and unique visual for their work, and that’s what I’d like to do with the Charli XCX world as well.
I’ve never lived in the visual world. I live very much in an emotional-contact world.
When judging a product, we rarely have exhaustive scientific data to go by. As a result, if we are to form a complete picture, we must fill in the blanks, just as we must in our visual perception.
My ideas come, wh-pheww. And I draw. Just recently, when I’m searching for ideas for paintings and sculptures, I wait for ideas, and it’s always visual.
I don’t think so much about verbal comedy. I always think about visual comedy. I was raised watching silents, and I’m always thinking about how to make cinema, not good talking – although I want good talking. I’m much more interested in framing, composition, and orchestration of bodies in space, and so forth.
The young generation has a different curiosity that is more visual.
As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.
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.
When I started, I knew I didn’t fit any visual that anyone was going to lie down and take their clothes off about. Work doesn’t come to me; I go out and look for it.
I love writing dialogue, and I think a lot of my writing is visual and very cinematic.
I would really love to collaborate with Gwen Stefani and M.I.A.; artists that kind of make sense with me vocally. And in terms of style, I’m a very visual artist. I really love Pharell. I love people that really care about drums, and I like beat-heavy.
I was a painter before I was a writer, so I was always a visual artist. And my writing, to me, was always visual.
I don’t like seeing myself on television and I don’t enjoy filming. What I actually enjoy is thinking about how I am going to express something or how we are going to make the visual metaphor.
I always see my songs in colors, and I’m often more inspired by movies and photographs than I am by other songs when I write my music. I’m also inspired by fashion, and I want my music to be a visual painting of what’s in my mind.
When ’36 Chowringhee Lane’ was released in 1981, I was a student of the Film and Television Institute of Tamil Nadu. Everyone who had seen the film was very impressed with its flawless direction and acting. But we, cinematography students, were stunned by the visual style, which was truly international.
Visual storytelling utilizes both language and art to pass on the essence of who we are.
Most of the theatre work that you see in India is very verbose and the visual is whatever you can create on stage.
I’ve done a lot of dance sequences because I like them; I like to animate dancing because it’s fun and visual.
Because Bin Laden’s culture doesn’t permit the worship of images, they understand how powerful images are. We wouldn’t have thought of creating a visual bomb. In a way, he’s chopped down two iconic buildings, and used our very truth imagery, to express himself. It’s fascinating… I mean, dreadful.
And when you take something like the changing colour of autumn leaves and start to ask why, you’re starting off on an intellectual journey which will take you beyond that moment of visual satisfaction, while robbing nothing from that experience.
Obviously, something like ballet, you have music, you dance with the music and it’s a very direct connection. With visual art, when there’s no music that accompanies the art, such as great masterworks in a museum, you wind up interpreting what the artist is doing, how the artist made that work and what they’re conveying.
One does not contemplate it like a picture. The idea of contemplation disappears completely. Simply take note that it’s a bottle rack, or that it’s a bottle rack that has changed its destination… It’s not the visual question of the readymade that counts; it’s the fact that it exists, even.
I love the visual aspect of the theater. But I like what people have to say, too.
I’m a very visual person, which is probably why I make videos rather than write scripts.
So to me it’s very similar in terms of trying to distill within the image, those elements that are gonna form, hopefully, a compelling visual statement.
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.
Color is everything. It’s another piece of the visual language to express what you’re trying to say.
I always thought that was very important, to be able to deliver great lyrics and also put on a great performance, to have that type of visual where people would take to it, where they’d want to dress like you or have pictures of you hanging up on the wall.
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.
I learned a lot doing ‘Wolverine,’ and I was also very fortunate, in the sense that I got to do a huge number of visual effects shots.
Movies are visual, aural, they involve people, and life, and ideas and art, they are so elastic. They can hold anything, withstand everything, and make you feel anything. Other arts can do that, but movies are the only ones that can incorporate other media into cinema.
In the 1950s we use to feel that television was taking away our comic readership; with today’s exciting, powerfully visual movies I have to wonder about their effect on the kids’ loyalty to the comic book medium all over again.
I love writing picture books and story books because of the exciting, visual life that artists and illustrators give to them. And most of all, I love writing novels because of the inner, emotional journeys that they take me on. Hopefully, the reader comes with me!
I think there are some things I am unable to fully express with my visual work, and the music is what fills that void. At the same time, I don’t think you can fully appreciate the music without the anchor of the visual work.
I don’t have a style. I’ve never thought of myself as a stylist like the visual stylists I admire enormously – Adrian Lyne, Ridley Scott, Alan Parker – in which every shot has a great idea in them.
I am not a visual innovator.
I don’t really think about a visual aspect to the work at all; I just think about making the piece. And everything that occurs visually comes out of the subject matter you are dealing with so that I find it difficult to treat the visual element as a separate entity.
When I began to choreograph and find my way pulling other artists’ dreams out and changing music in a visual way, there was still a part of me that had something more to say. There was still a desire to rock a stage and ultimately perform the eight count of my dream, but there was a lot of insecurity there.
If you imagine yourself as a craftsman at ILM, you spend your days tumbling buses and animating shards of glass. You’re doing a lot of visual effects work.
Visual storytelling combines the narrative text of a story with creative elements to augment and enhance the traditional storytelling process. By design, it is a co-creative process resulting in an intimate, interpretive, expressive technique.
I have sketched since a young age, so there’s always been an artistic side, a visual side to my personality.
When I was a kid, it was thought I would do something in the visual arts because I was always drawing, but when we emigrated to Australia from Holland when I was seven, I learnt the English language, and I fell in love with it.
I’ve always been a follower of silent movies. I see film as a visual medium with a musical accompaniment, and dialogue is a raft that goes on with it.
I’m a visual thinker, not a language-based thinker. My brain is like Google Images.
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.
‘Ouija’ has a steady directorial hand, some attractive young actors who taking the silliness seriously, and few admirable genre elements. It renounces the faux-found-footage ShakyCam style, instead employing a traditionally smooth visual style.
I just dreamed about living in Paris and being French. I always loved the visual arts, film and theatre, and I hoped to be involved in creating beautiful products and images.
When people in stadiums do the Wave, it’s the group-mind collective organism spontaneously organizing itself to express an emotion, pass time, and reflect the joy of seeing the rhythms of many as one, a visual rhyming or music in which everyone senses where the motion is going.
