In learning the art of storytelling by animation, I have discovered that language has an anatomy.
Visual storytelling of one kind or another has been around since cavemen were drawing on the walls.
I really admire visual storytelling that shows you what's happening, instead of tells you what's happening. I think it really forces the filmmaking to be very clear.
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 fell in love with commerce and the opportunities that come with compelling visual storytelling.
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.
We [Rodriguez and Frank Miller] wanted to take the movies and turn them into a graphic novel, so that people wouldn't even know what they were looking at. It's still visual storytelling, but it's approached completely different. The two mediums don't have to be separate mediums. They can be one and the same.
I achieved perfection, my type of perfection - visual storytelling. Storytelling was my style.
So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point
I wanted wherever possible to lean into the comic form and do things in the story telling that could only be done in comics and which pay homage to the many strands of comic and visual storytelling tradition.
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