Visuals Quotes - Page 14

• Watching a documentary with people hacking their way through some polar wasteland is merely a visual. Actually trying to deal with cold that can literally kill you is quite a different thing.

  Henry Rollins

  People, Trying, Different

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• A photograph presents itself not only as a visual representation, but as evidence, more convincing than a painting because of the unimpeachable mechanical means whereby it was made. We do not trust the artist's flattering hand; but we do trust film, and shadows, and light.

  John Updike

  Mean, Artist, Light

  John Updike (2009). “More Matter: Essays and Criticism”, p.667, Random House

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• The Western memory museum is now mostly a visual one.

  Susan Sontag

  Memories, Museums, Western

  Susan Sontag (2007). “At the Same Time: Essays and Speeches”, p.128, Macmillan

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• Can the vast technology beneath our gaze be anything but a representation? Any optical artifact... The city panorama is a theoretical (ie visual) simulacrum: in short, a picture, of which the preconditions for feasibility are forgetfulness and a misunderstanding of processes.

  Michel de Certeau

  Technology, Cities, Process

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• As a comic, you learn to use your voice because you don't have the benefit of visual things.

  Jeff Foxworthy

  Voice, Use, Benefits

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• It takes me a long time to change. I don't think you can just go out and figure out a bunch of visual ideas and photograph. The change happens in living and not through thinking.

  Harry Callahan

  Thinking, Ideas, Long

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• In images,... beauty was the agency that caused visual pleasure in the beholder; and any theory of images that was not grounded in the pleasure of the beholder begged the question of their efficacy and doomed itself to inconsequence.

  Dave Hickey

  Agency, Pleasure, Beholder

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• The visual is essentially pornographic, which is to say that it has its end in rapt, mindless fascination.

  Fredric Jameson

  Fascination, Ends, Mindless

  Fredric Jameson (2013). “Signatures of the Visible”, p.1, Routledge

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• Some people... cling to the idea that the photograph is an inherently real or honest image and as such is always on a different plane from an obviously subjective form of visual communication such as painting.

  Tibor Kalman

  Real, Communication, Ideas

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• I have so much music that I do. Just like how a visual artist is always sketching something but they might not share it, I'm always writing songs or coming up with melodic lines on piano or guitar. It's therapy. It's always happening.

  Erykah Badu

  Song, Writing, Artist

  "Life on the Line: A Telephone Conversation With Erykah Badu". Interview with Ryan Dombal, pitchfork.com. December 10, 2015.

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• Each film has its processes. It doesn't mean that all animated films have to be like "Boy and the World," but creators have to have total freedom. There are films that are born with the purpose to sell. They are still admirable films with great artists and great visuals, but we wanted to use a more radical approach to create art. That's what we tried to do.

  Alex Abreu

  Art, Mean, Boys

  Source: blogs.indiewire.com

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• And this movie [Real Steel] definitely looks like nothing else I've made, which was the point. I think also, Evangeline and Hugh are such a fantastic... Their chemistry is so genuine. And also it's a good balance to all those visual effects. It'll give you more of the tone.

  Shawn Anthony Levy

  Real, Thinking, Giving

  Source: collider.com

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• There is a reality to the way the actors play the scenes, given that there is a real, animatronic, moving robot in the room. So the level of nuance and realism in performance was higher because we built the real ones, and it keeps the visual effects guys honest.

  Shawn Anthony Levy

  Real, Moving, Play

  Source: collider.com

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• The costumes, the light rigs and the effects are seamlessly joined. I'm kind of bummed that I don't get the experience that you get with just watching it cold. By the time we'd seen all the visuals put together, I'd sort of become used to that world. It's still pretty impressive.

  James Frain

  Light, Together, Costumes

  Source: collider.com

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• We've been working on the visual effects for a year, so we're trying to raise the bar. Stuff will absolutely come out at the screen, but it will absolutely not look as bad as that tire in Final Destination.

  Paul W. S. Anderson

  Years, Trying, Finals

  Source: collider.com

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• I had seen "Force Majeure" and I just love that movie so much. And I really wanted to artistically give a little hello to the filmmakers, and that kind of back and forth dialogue between artists that say, "I loved your movie. I was influenced by your movie. If I didn't have this job, I wouldn't be thinking of that. Do my TV show and then one day I'll make a movie where I can play with some of the visual themes in "Force Majeure."

  Jill Soloway

  Jobs, Artist, Thinking

  Source: www.hitfix.com

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• During the preproduction when I'm shooting and then once we wrap we go away. And then the visual effects guys take over. And then they add all those little bits and pieces. They come up with ideas during the cut in the editing, and they said while would be really cool if we did this thing here where the blade pops out. So then you see the movie and say wow that's a really neat idea. I wish we would have thought of that.

  Gregory Nicotero

  Cutting, Editing, Ideas

  Source: collider.com

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• I think that if you're creating an environment completely or...in my research, what I've learned is that if it's a CG world or a lot of visual effects, you're almost better doing that in post.

  Neal H. Moritz

  Thinking, Creating, Research

  Source: collider.com

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• My objective always is to stay as close as possible and shoot the pictures as if through the eyes of the infantryman, the Marine, or the pilot. I wanted to give the reader something of the visual perspective and feeling of the guy under fire, his apprehensions and sufferings, his tensions and releases, his behavior in the presence of threatening death.

  David Douglas Duncan

  Eye, Marine, Fire

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• An aspect of the work has to do with altering the literal/cultural meaning of existing public images by making minimal changes and additions. Using superimposition, juxtaposition and other contextual changes, I am functioning as a visual guerrilla.

  Robert Heinecken

  Juxtaposition, Aspect, Guerrillas

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• I see myself as a recorder of history, sort of a visual historian.

  David Burnett

  Historian, Recorders

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• Photography is the art of anticipation, not working with memories, but showing their formation. As such, it has relentlessly usurped imaginative and critical prerogatives of older, slower literature and handmade visual art.

  Peter Schjeldahl

  Photography, Art, Memories

  "Looking Back" by Peter Schjeldahl, www.newyorker.com. March 21, 2005.

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• We used the camera only as a means of expression and as a visual medium that offers possibilities found in no other artistic technique, possibilities that the eye cannot catch in their totality. We tried to establish a characteristic vision of photography.

  Piet Zwart

  Photography, Mean, Eye

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• Fifty years from now I don't think optical realism is going to be an issue in visual communication any more. Experience is so much richer than light falling on your retina. You embody a microcosm of reality when you walk down the street - your memories, your varying degrees of awareness of what's going on around you, everything we could call the contextualizing information. Representing that information is going to be the main issue in the years ahead - how the world meets the mind, not the eye.

  Bill Viola

  Memories, Fall, Communication

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• Every photograph is the result of a physical imprint transferred by light reflections onto a sensitive surface. The photograph is thus a type of icon, or visual likeness, which bears an indexical relationship to its object.

  Rosalind E. Krauss

  Reflection, Light, Icons

  Rosalind E. Krauss (1986). “The Originality of the Avant-garde and Other Modernist Myths”, p.203, MIT Press

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