And the camera position, the organization, looking for repeating forms, shapes, trying to set up a visual rhythm seemed to come very natural. All of a sudden I was in a forest of aluminum and steel rather than a forest that we might think of in a traditional sense.
For Berkeley (normal) vision is a language whereby God tells us about the tangible world. But prior to having experience of the tangible world, the visual language would be as meaningless as an utterly alien language. It would convey no meaning to the sighted mind.
The concrete is better than the abstract. The detail is better than the commonplace. The sensual [through the senses] is better than the intellectual. The visual is better than the mental.
Writing, in its physical, graphic form, is an inseparable suturing of the visual and the verbal, the “imagetext” incarnate
Sign is a live, contemporaneous, visual-gestural language and consists of hand shapes, hand positioning, facial expressions, and body movements. Simply put, it is for me the most beautiful, immediate, and expressive of languages, because it incorporates the entire human body.
Our Government is pleased to partner with the Kelowna Visual and Performing Arts Centre Society, located in the heart of British Columbia's vibrant Central Okanagan region. Support for the performing arts is essential for the professional growth and development of our Canadian artists.
The thrill of doing visual effects doesn't exist.
After I script the movie, I have to storyboard it out, I have to budget it, and I have to understand if I can afford all those visual effects or not.
... the attempt to render visual intricacy makes words feel unwieldy, like sacks of meaning that must be lugged into place, dragged here and there, then still don't fell accurate.
...never have I subscribed to the doctrine of willful rejection of the world or its visual image. To the non-objectivist this act of impiety may be shockingly impure, but God, I have no desire to be either hollow or sterile.
Graphic Design is the communication of information in an appropriate visual manner.
My entire learning process is slow, because I have no visual memory.
Gardeners often focus exclusively on plants, missing the absolutely essential visual role played by structures, from paths to pavilions.
No matter how many great performances or exciting visuals we put together for the movie, we found that it was all somewhat two dimensional until we added the emotional heart of Howard Shore's music. Then, and only then, did the film come to life.
I try to remember dreams, and occasionally I'll make a note or two in a notebook if it's something extra interesting. They do mean quite a lot to me, and they don't happen all that often. In other words, I don't have some kind of loud, Technicolor dream every night. But a few times a month, I'll have a rather interesting dream. They're mostly visual - oddly enough, I don't have much dialogue in my dreams. They just don't speak.
As my sons went into teenagehood, they started to look like some of the groups of people that I had photographed previously. They started to become like my old subjects. As if, as a photographer, you come around to the same visual points.
On some kind of unspoken, deep, deep level, I think we [with Ryan Murphy] have an aesthetic that we both understand or connect to. It's not that we see the world in the same way because we have very different points of view, but we're both visual stylists.
I love visual stylists like Bob Fosse and Vincente Minnelli and Michael Powell & Emeric Pressburger with The Red Shoes and The Tales of Hoffman.
I see my work as having a relationship to the visual world, not just some emotive residue of my feelings. It relates to something that exists, or might exist, rather than a transcendent mental state or something like that.
Even though I don't have any larger spiritual or ideological system, there is some logic in concert with a huge number of beautiful, disconcerting, screwed-up variables that results in a certain visual pleasure in violent things. Like a broken egg yolk can be the most violent thing I've seen all day, if I'm in the right mood. But also tons of trash in the woods or a burned-up trailer park can also come across as especially violent.
The Taboo scene was a kind of deconstructed version of the New Romantics. The Taboo crowd was using a lot of the visual ideas that had already been used. I remember the first time I spotted Leigh Bowery and Trojan parading around in clubs: They were in their "Pakis from Outer Space" look, and the makeup was quite similar to one of my old looks, because I was quite fond of wearing blue, green, or yellow foundation, and so I was pretty dismissive of them at first.
In movies, you can basically buy the audience into the theater. If you spend enough money on visual effects, even if you are lacking in story and character, you might still pull it off.
There's a level where the themes of a film are very relevant to me and also the idea of finding out how relevant one genre is to another. I think that westerns and samurai films and superhero films have a lot in common. It's just that the scale of the visuals in tentpole films can sometimes overwhelm the drama.
If I want to do something in the TV industry, I should be allowed to explore that, but not in a way where it has to cancel out or ruin my visual art career.
Danny Boyle has been a huge, has had a huge effect on me. His movies, early movies like Trainspotting and those movies. So I've always loved the energies of those movies. But also, that they are very focused on the characters. Cause it's not only gimmickery, it's not only about visuals. You feel a real need, a love for the main characters. So that's what I've always loved about watching movies myself.
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