I don't think the written word is important in movies anymore and the really great movies are done by great directors who in many cases write their own scripts. I think it's gotten to be more of a visual thing than an audible thing.
I think that it drives from an emotional connection with everybody that pulls you through all of those events, whether it's the events or what would be more the action, or I guess the visual effects side of it. So it always starts with me from - emotionally - 'Why do you care about the people who are going through what they're going through?' Because it takes a hell of a lot to put them through that. So you better care for them when they're doing it.
When I began making art, I just thought I liked it. As a woman who was placed in spaces with various conditions, conventions, and restrictions on self-expression, turning to art - whether visual art, writing novels, or writing articles - was to gain freedom from the space around me.
Thai society rarely attempts to control literature in the same way that it vigilantly polices visual art. It's ironic because people in this society are more aware of literature than they are of art.
When I write my scripts, there's a point at which if I'm not starting to see them visually, I feel like I'm kind of cheating. So my scripts are laden with a lot of visual description, which makes them not so much fun to read - I kind of weigh them down.
A work can do many things at once, and it doesn't have to be just about the world, it could also be about photography, it could be about perception, it could be an exploration of the medium. It could be a document, it could be a visual poetry, and it could be a formal exploration all at the same time.
I guess through my learning disability, through dyslexia, I've always been a visual learner - I take in everything through my eyes.
I'm very interested in the visual world because I'm also very interested in feminism. I find that the world of watching takes us into the most psychotic state of, like, "You are this one person, but you have to become another person to see these images."
I got really interested in the language used in blogs written by young girls - a young person's aggression, which is always lacking from the visual world.
Carl Rinsch has a good balance between the visual and the drama and action, so I thought if he's going to direct, we can make a new, epic film. My fear was gone when I met him.
My name is Raquel Welch. I am here for visual effects, and I have two of them.
Do not slip into writing for the mind and the mind alone. In other words, do not play merely upon our ability to reason. And do not focus only on visuals. Write for the whole person.
We make such terrible mistakes with visual choices about beauty.
I've always thought of the book as a visual art form, and it should represent a single artistic idea, which it does if you write your own material.
I fear that my mind would starve and that I might find myself in danger if I had no visual information, that it's chiefly the light, the shapes, the spaces, the colors that I see that compel me to keep moving forward in life and that keep me safe.
I would have been a visual artist. When I was in high school, that was one of the things... I had to make a decision what I was going to go to college for, and at the time, I also painted and sculpted. I got more attention for my performing, so I thought that was a better idea.
I'm a big fan of fiction film where you have a story and you have to transform that into a visual language, basically working with actors and also transforming that into how you pronounce that in the visual language of the shots, the construction of the shots and the lighting. All of that appealed to me from the beginning of my career at the university. When I graduated from the university, I wanted to deal mainly with that, with the visual aspect of the movie.
It's interesting vocalizing something that is visual.
I went to NYU for acting, for six years. I thought acting was the easy way out or in because I didn't put in enough effort in school, being a crazy kid in college. But, I was good at it, so that was the other side of it. I would love to direct. What I've learned from being on set is more how to deal with actors than even the visual part of it all.
The visual stuff just lives inside of you. As far as really being able to take care of an actor on a set, how to talk to an actor, and how to get what you need out of a scene is probably where I might know a thing or two. Although, in TV, the actors are pretty much left alone. It's really the writer's medium more than anything.
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.
We've tried to use some visual motifs [in Beauty and the Beast]. As far as the cinematography and the lensing and all that, we are presenting a different view into that world. It's a little sleeker, but we're keeping the gothic feel underneath it.
I come from a visual background. I used to work in the camera department at Warner Bros. when I was a teenager. I grew up dusting lenses and learning about photography.
The Germans were much more graphical. The expressionism is much more than cinema. It was a movement with artists, painters, music and architecture, so it's really graphic and visual. And the French were something else.
I've always liked puzzles, since I was a kid. I like party games, silly games. I loved chess. I enjoy jigsaw puzzles, but I'm not particularly visual.
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