Viewers Quotes - Page 5

• [W]e have ceased to see the life in which we live. It is my intent to cause the viewer to revisit the gifts we are surrounded by and see them as if for the first time.

  Harold Feinstein

  Firsts, Causes, First Time

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• To all viewers but yourself, what matters is the product: the finished artwork. To you, and you alone, what matters is the process: the experiences of shaping that artwork. The viewers' concerns are not your concerns (although it'd dangerously easy to adopt their attitudes.) Their job is wahtever it is: to be moved by art, to be entertained by it, to make a killing off it, whatever. Your job is to learn to work on your work.

  David Bayles

  Art, Jobs, Attitude

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• Don't get seduced by your own stuff. Don't get high on your own supply. The hardest thing as a filmmaker is when you're watching a film that you've worked on for several years. You know every frame so intimately that holding lots of the objectivity of a new viewer who has just seen it for the first time is the hardest thing. Every aesthetic decision you make - and you make thousands of them every day, have to - in theory, must be done from you being a blank slate. You almost have to run a program, like a mind wipe, every time you watch the movie.

  James Cameron

  Running, Decisions You Make, Objectivity

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• Last night's vice presidential debate between Joe Biden and Sarah Palin drew much higher ratings than the presidential debate. Did you know that? Yeah. Yeah, Biden attracted viewers who enjoyed his previous debate appearances, and Palin attracted viewers who enjoyed the movie 'Fargo.'

  Conan O'Brien

  Night, Presidential, Biden

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• As a viewer, I'm personally less interested in the damaged, white, middle-class male figuring out his dreams and more interested in maybe an underdog figuring out how they're going to survive in a world that doesn't necessarily invite them in.

  Mackenzie Davis

  Dream, Class, White

  "Biography/ Personal Quotes". www.imdb.com.

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• I think in space or music or art or literature of any kind there has to be some kind of void where the viewer or the spectator or the listener or the reader can insert themselves into it, and there is a certain kind of architectural space which is totalitarian, which does not allow you to do that.

  Jonathan Meades

  Art, Thinking, Space

  Source: thequietus.com

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• We used hand-held cameras 50 years ago. It wasn't something new. Sometimes we used a tripod, or we'd have a tracking shot, and sometimes - like when a character was being chased - we used a hand-held camera because it was right for the scene. In those cases, it helped the mood; it created immediacy and a feeling for the viewer that they were in the scene and in the moment.

  Vilmos Zsigmond

  Character, Hands, Years

  Source: www.pbs.org

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• I like when people get really close to the paintings, when they can't really get away from them, I like them to operate in that way on the viewer.

  Julian Schnabel

  People, Way, Painting

  Source: www.interviewmagazine.com

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• I want the paintings to take me or the viewer out somewhere else.

  Julian Schnabel

  Somewhere Else, Want, Painting

  Source: www.interviewmagazine.com

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• My intention has been to encourage viewers to face their prejudices about prostitution, sex and aging while reflecting on the complex and varied forms that love and loneliness can take.

  Maya Goded

  Sex, Loneliness, Prejudice

  Source: blogs.indiewire.com

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• I really wanted to take the viewer to the 'here and now' regarding the exterminations, and communicate directly in a visceral way. The art of cinema can communicate that way, and that's why I wanted to do it that way.

  Laszlo Nemes

  Art, Cinema, Way

  Source: www.hollywoodchicago.com

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• I'm always going to look and refer to things and remember things differently than perhaps a real or honest viewer can. I'm tainted with knowing too much. But I still very much love it.

  Kevin D. Williamson

  Real, Knowing, Looks

  Source: collider.com

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• I needed to put something together that would continually get me up at 4:30 in the morning, get me to work and get me excited to throw on those costumes - which clearly continue to excite me, if you are a viewer of the show - and circumstances that continue to surprise me and ask me to go places acting-wise that I haven't explored before.

  Gabriel Mann

  Wise, Morning, Acting

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• Even the most loyal viewers of a show would only watch one out of three episodes. As someone who made television, I always found that hard to believe because you want to believe people who love your show are watching every episode, but statistically it was true that people who considered themselves the most loyal viewers were only watching one out of three.

  Tim Kring

  Believe, Love You, People

  Source: collider.com

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• Comedy Central was a great network, but 'Chappelle's Show' took it to a completely different level. Other shows got bigger because so many viewers were watching the 'Chappelle' reruns. For BET, the 'Real Husbands of Hollywood' has that same potential.

  Kevin Hart

  Husband, Real, Hollywood

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• I felt no obligation to bow to any 21st Century political correctness. What I did feel an obligation to do was to take the 21stCentury viewers and physically transport them back to the ante bellum South in 1858, in Mississippi, and have them look at America for what it was back then. And I wanted it to be shocking.

  Quentin Tarantino

  America, Political, Bows

  Source: www.pittsburghurbanmedia.com

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• During the game, we never sit down. Not only is there action on the field, but we also have to cover the half-time show and interview all the celebrities attending. But once it's all over, it's a pretty satisfying feeling. My team and I love delivering an exciting and all-encompassing story the next day for our viewers. We want them to see and experience all that we did.

  Megan Alexander

  Team, Games, Next Day

  Source: www.sheknows.com

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• When a photographer chooses a subject, he or she is making a claim on the interest and attention of future viewers, a prediction about what will be thought to have been important.

  Frank Gohlke

  Important, Attention, Photographer

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• As a rule I do not like to explain my photographs, I want my pictures to be read and explored. I believe a good picture is open to many individual (subjective) associations. I am usually pleased when a viewer finds interpretations that I myself had not been aware of.

  John Gutmann

  Believe, Want, Association

  Sally Stein, John Gutmann, Amy Rule (2009). “John Gutmann: the photographer at work”, Yale Univ Pr

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• I understand all the work to be of a nonabstract nature regardless of the style, form, or explicit subject matter because all the work... is concerned with evoking experiences that are in themselves - and their relationship to you, the viewer - the ultimate subject and content of the work. I want to equate the experience of the work with its meaning.

  Roni Horn

  Style, Want, Matter

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• A shudder runs through the viewer of old photographs. For they make visible not the knowledge of the original but the spatial configuration of a moment; what appears in the photograph is not the person but the sum of what can be subtracted from him or her.

  Siegfried Kracauer

  Running, Moments, Photograph

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• Art objects are inanimate sad bits of matter hanging in the dark when no one is looking. The artist only does half the work; the viewer has to come up with the rest, and it is by empowering the viewer that the miracle of art gains its force.

  Vik Muniz

  Art, Dark, Empowering

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• My mother said that when I was young I was constantly saying, Look at this - Look at that. I think that taking pictures must be my way of asking people to Look at this - Look at that. If my photographs make the viewer feel what I did when I first took them - Isn't this funny... terrible... moving... beautiful? - then I've accomplished my purpose.

  Ruth Orkin

  Beautiful, Mother, Moving

  Ruth Orkin (1981). “A Photo Journal”, Studio

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• One reason for making and exhibiting a work is to induce a reaction or change in the viewer.... In this sense, the work as such is nonexistent except when it functions as a medium of change between the artist and viewer.

  Adrian Piper

  Artist, Reason, Reactions

  Adrian Piper (1974). “Talking to Myself: The Ongoing Autobiography of an Art Object”

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• A photographic close-up is perhaps the purest form of portraiture, creating a confrontation between the viewer and the subject that daily interaction makes impossible, or at least impolite.

  Martin Schoeller

  Creating, Portraiture, Impossible

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