I’ve always been a very observant person, a visual person. That’s my way of learning. Things on paper, notes and things like that, don’t help me the same way as watching things live.
You know, things that might work in a book just do not work in the visual medium of movies.
I’ve been dancing since I was five. To me, dance is a visual representation of being free and empowered.
When I was in the first years of university, I fell in more with the visual arts crowd because it was more interesting than where music was.
I’ve done my own videos, I do my own styling, so I feel like I’ve just always been a visual artist… I was one of those kids who wanted to make my own clothes and take pictures of everything. Everything inspired me, and everything felt like art around me.
‘Piku’ was driven by subtleties. Most films come with the padding of the sound, the visual, the drama.
Videos come definitely after the music has been created, but I have always felt, and especially today, that videos are vital in the album process. I think that we live in a very visual era, and if you make a mistake with a video, those images will accompany the song forever.
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.
Modernism has a reputation for being a forbidding phenomenon: its visual arts disconcertingly non-representational, its literary efforts devoid of the consolations of plot and character – even its films, it’s argued, fall well short of that true desideratum: entertainment.
I’d have been a filmmaker or a cartoonist or something else which extended from the visual arts into the making of narratives if I hadn’t been able to shift into fiction.
Drawing and visual arts was kinda my first passion going all the way back to when I was a kid. I always felt like it was what I was supposed to do – but in reality I don’t know that I ever had the skill to make it a profession.
Be able to describe anything visual, such as a street scene, in words that convey your meaning.
I don’t really trust musical artists that don’t also do visual art.
When I write a screenplay – and I think it’s one of the reasons why it was frustrating for me just to be a screenwriter – I’m not thinking of it in terms of words on a page; I’m thinking in terms of visual images – basically, a comic book. I’m thinking of it in a series of shots.
One of my favorite ways to find fictional inspiration, by the way, is to browse historical timelines. I also like world atlases – any country with a squiggly coastline seems to inspire me, as do visual dictionaries, those reclusive creatures of the reference shelf.
Painting, music, photography, and visual art have been creative forms of expression for me for decades.
After about the first Millennium, Italy was the cradle of Romanesque architecture, which spread throughout Europe, much of it extending the structural daring with minimal visual elaboration.
I’ve been obsessed with this kind of visual storytelling for quite a while, and I try to create material that allows me to explore it.
I think the filmmakers that I love are ones that cross genres and do different thinks, the way that David O. Russell can do something like ‘Flirting With Disaster’ but then go do ‘Three Kings’ which is like an incredibly visual film – that’s a huge reference point.
The first time I saw Douglas Sirk was in college. I didn’t encounter him on the late, late, late show like a lot of people; people a little older than me, maybe. But I saw him already as someone to take special note of in an academic context in college. I was immediately in a state of visual splendor.
It’s a tremendous asset if you have a visual eye because you can make huge visual statements in a very theatrical way and play to the strength of theatre. But the high end of directing is working with actors and making the acting the best it can be.
It’s amazing to be able to work with people right at the top of whatever they do… inspiring photographers and stylists with very interesting visual language. The more I do it, the more I enjoy it.
I learned first of all not to be intimidated by any visual effects that I don’t understand. It can all be learned. You can then use them as tools to tell your story. I also learned that you have to be really vigilant, the more complex the movie, to not lose yourself and to not lose sight of the priority.
I was very intimidated by the visual effects world. But I began to realize that you don’t have to know everything. You have to be able to talk about story.
I’m interested in visual vocabulary, like Warhol was interested in that vocabulary of advertisements and television and pop culture.
It is difficult to talk about fashion in the abstract, without a human body before my eyes, without drawings, without a choice of fabric – without a practical or visual reality.
Nothing scales quite the way a sci-fi feature does, I mean, you can always add more visual effects; you can spend a lot of money on the visual fidelity alone.
If the reader doesn’t care or relate to the characters, all that visual spectacle is pretty but feels empty.
You get to bring your own sound system when you play an arena, all the lights and visual stuff, which I think is really cool. There’s something about those old arenas, where it feels larger than life.
It’s been noted that writing about the production of art is a masquerade or metaphor for writing about writing. This may be true, there are similarities – both the verbal and the visual represent the thing or the concept.
When I step back and look at what’s important to AMD, it’s about graphics leadership – visual computing leadership – as well as a strong computing experience. We have the capability to integrate those two together.
Understanding vision and building visual systems is really understanding intelligence.
A lot of musicians are good cooks, and a lot of cooks are musicians, but I think that may just be a result of the creative impulse finding several means of expression. Probably an equivalent number are visual artists, woodworkers or compulsive liars.
My mum always liked poetry, and she had pictures on the wall, so there was this visual stuff around.
Hearing about a visual artist’s approach can change the way you think about songwriting.
Disability is as visual as race. If a wheelchair user can’t play Beyonce, then Beyonce can’t play a wheelchair user.
I have suffered from migraines since childhood and have long been curious about my own aching head, my dizziness, my divine lifting feelings, my sparklers and black holes, and my single visual hallucination of a little pink man and a pink ox on the floor of my bedroom.
The system is the work of art; the visual work of art is the proof of the System. The visual aspect can’t be understood without understanding the system. It isn’t what it looks like but what it is that is of basic importance.
In the seventies, a group of American artists seized the means not of production but of reproduction. They tore apart visual culture at a time of no money, no market, and no one paying attention except other artists. Vietnam and Watergate had happened; everything in America was being questioned.
I really enjoy blocking and staging. I think most of visual storytelling is camera placement and how to stage action around the camera.
There are some stunning visual moments in ‘Arrival’ that are out of this world, but it’s all on the earth, and it’s about an academic, a woman that is dealing with a personal tragedy, but there’s a circular view of time that makes things more complicated.
I like visual images and there are certainly other bands that have strong visual images going all the way back to Elvis Presley, but it’s kind of like that’s never really been my bag. Probably because I’m too shy.
Visual storytelling is at once immediate and subversive.
One reason I chose gunpowder is that I had the good luck in my environment to be exposed to gunpowder. The other reason is I was always looking for a visual language that goes beyond the boundary of nations, and so I found gunpowder.
Instagram is a media company. I think we’re about visual media.
The movies are all about visual, and television is all about character and dialogue.
So much of my poetry begins with something that I can describe in visual terms, so thinking about distance, thinking about how life begins and what might be watching us.
There’s so many things about Babymetal you cannot just grasp with the sound. The visual has to compliment the sound, the costumes have to compliment the sound.
Google Glass is the wearable computer that responds to voice commands and displays information on a visual display.
I began composing works which were imitative of the music I was being told about. I was also very interested in translating the music into visual terms.
I think the problem with visual media like TV is that they’re reductive.
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.
I’ve always loved painting, although I never show anyone what I’ve done. Mainly because I don’t do it well. But it’s like a form of visual diary for me. A way of fixing things in my mind.
