Visuals Quotes - Page 4

• The visual possibility of seeing the historical person (as opposed to the eternal Qur'anic man) on screen is arguably the single most important event allowing Iranians access to modernity.

  Hamid Dabashi

  Men, Important Events, Historical

  Hamid Dabashi (2001). “Close Up: Iranian Cinema, Past, Present, and Future”, p.15, Verso

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• It seems far simpler to go ahead and say that the epic is a fantastic myth, that happens to be true of the material Universe, that other myths are true in terms of their cultural meaning, and that there's absolutely no problem with holding more than one story, just as there's no problem with viewing the sunset in terms of planetary rotation and spectra and nuclear fusions one moment and as visual splendor the next.

  Ursula Goodenough

  Sunset, Epic, Fusion

  "Board Forum: How Grand a Narrative?". 1999.

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• Two men with a camera, thoughtfully observing the visual cacophony of one major thoroughfare and the complicated interplay of its history, its present, and the certainty of change, have laid the groundwork for a dialogue and a vision that reaches farther than human eyes can see.

  Vicki Goldberg

  Eye, Men, Two

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• As I see it, mainstream comics now speak only to the hardcore few who stayed; conversing in a weird, garbled, visual pig latin only they can understand - rendering the term 'mainstream' a hollow joke - while the true mainstream, the other 99.9% of the populace, find enjoyment elsewhere.

  Scott McCloud

  Latin, Book, Pigs

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• A decade or so ago, all over the world, cinemas underwent one of those prince-into-frog mutations, and became, instead popcorn-restaurants, which offered the option of visual diversions for diners.

  Kevin Myers

  Hollywood, Mutation, Popcorn

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• My work makes people understand things in a visual way that I could never understand in a literal way - like the way you deal with and break down problems, and don't come up with answers, but [find] a pathway that becomes clearer.

  Ali Banisadr

  People, Way, Answers

  Source: www.interviewmagazine.com

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• 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.

  Robert Rodriguez

  Two, People, Different

  Source: collider.com

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• Making a movie is the same as an orchestra; it's moving all the different instruments and the sounds, the kinetic and the auditory and the visual all together. I'm probably the trombone.

  Sylvester Stallone

  Moving, Together, Sound

  "Sylvester Stallone Talks Topping THE AVENGERS, the Cast, Using Actors’ “Baggage” as an Advantage, and More on the Set of THE EXPENDABLES 3". Group Interview, collider.com. April 16, 2014.

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• I did a good bit of episodic television directing, but directing a movie is so much more complicated. And there's so much more responsibility because the medium is very much a director's medium. Television is much more of a producer's writer's medium so a lot of the time when you're directing a television show they have a color palette on set or a visual style and dynamic that's already been predetermined and you just kind of have to follow the rules.

  Jason Bateman

  Responsibility, Color, Style

  "Jason Bateman Talks Making His Feature Directorial Debut, Why He Chose This Script, Shooting Digitally, and More on the Set of Bad Words". Interview with Steve 'Frosty' Weintraub, collider.com. March 7, 2014.

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• I'm pretty hard to impress, and I'm pretty exacting, in terms of what I want from my props department and art department. We spend many, many hours going over visual research and finding the right artists to create the material.

  Cary Fukunaga

  Art, Research, Want

  "Director Cary Fukunaga Talks TRUE DETECTIVE, Making an 8-Hour Film, Future Seasons, BEASTS OF NO NATION, Modernizing Horror with IT, and More". Interview with Christina Radish, collider.com. January 11, 2014.

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• The capacity to create [visual] effects in the computer has made the job easier, but it has also introduced the complexity that you can with a few more keystrokes generate such a busy canvas that the eye doesn't know where to go. You lose human scale on an event and you're just wowed by the kinetics and the visualization. But, often in those cases I feel you lose touch with the human characters and what it is that they would feel and how they might feel, and that's still the most important part.

  Harrison Ford

  Jobs, Character, Eye

  "Harrison Ford Talks Ender’s Game, Why It’s a Good Family Movie, the Evolution of Space Visual Effects Since Star Wars, and More". Interview with Sheila Roberts, collider.com. October 27, 2013.

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• I think you have to be very careful with effects that they don't overpower the story with the visual element.

  Harrison Ford

  Thinking, Stories, Elements

  "Harrison Ford Talks ENDER’S GAME, Why It’s a Good Family Movie, the Evolution of Space Visual Effects Since STAR WARS, and More". Interview with Sheila Roberts, collider.com. October 27, 2013.

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• I am involved in every step of the process [musicmaking]. Whether it is the production or the mixing or the visuals and music videos. I'm involved in every step of the way as far as the creative, directing and merchandise . Just making sure everything that falls in line with my brand is portrayed a certain type of way. It all about quality control and attention to detail, and making sure anything you put your name on is on point.

  G-Eazy

  Fall, Names, Creative

  Source: thesource.com

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• Instagram is a media company. I think we're about visual media. I explain ourselves as a disruptive entertainment platform that enables communication through visual media. I don't think it's just photos. There's a reason we don't allow you to upload photos on the Web as albums. It's not about taking all these photos off your DSLR putting them into an album and sharing them with your family. It's not about that. It's about what are you up to right now out in the real world, how can you share that with everyone.

  Kevin Systrom

  Real, Communication, Thinking

  Source: www.businessinsider.com

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• I really don't want to produce artwork that does not have meaning beyond simple decorative values. I want to use public space to create a public voice, and a public consciousness about the presence of people who are, in fact, the majority of the population but who are not represented in any visual way. By telling their stories we are giving voice to the voiceless and visualizing the whole of the American story.

  Judy Baca

  Simple, Voice, Space

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• We have a great responsibility. Whatever we make will become the truth, the visual reality that a generation will accept.

  James Cameron

  Responsibility, Reality, Generations

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• I like looking at the characters. Seeing them always brings up some voice or attitude. I am much more visual, and that works so much better than having someone tell me what the character is all about.

  Frank Welker

  Attitude, Character, Voice

  Interview with Cindy White, www.ign.com. September 15, 2009.

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• Marilyn Monroe and Vivienne Leigh are real icons of mine. In terms of visual culture, they are both so iconic. There weren't any paparazzi shots of them falling out of taxis, so they will always look so incredible.

  Lily Cole

  Real, Fall, Icons

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

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• An illustration is a visual editorial - its just as nuanced. Everything that goes into it is a call you make: every color, every line weight, every angle.

  Charles M. Blow

  Color, Illustration, Weight

  "Charles Blow on Masculinity, Trayvon Martin, and Reliving Childhood Trauma". Interview with Julia Lurie, www.motherjones.com. September/October 2014.

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• With respect to duels, indeed, I have my own ideas. Few things in this so surprising world strike me with more surprise. Two little visual spectra of men, hovering with insecure enough cohesion in the midst of the unfathomable, and to dissolve therein, at any rate, very soon, make pause at the distance of twelve paces asunder; whirl around, and simultaneously by the cunningest mechanism, explode one another into dissolution; and, offhand, become air, and non-extant--the little spitfires!

  Thomas Carlyle

  Distance, Insecure, Men

  Thomas Carlyle (2015). “Sartor Resartus: The Life and Opinions of Herr Teufelsdrockh”, p.161, The Floating Press

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• taste governs every free - as opposed to rote - human response. Nothing is more decisive. There is taste in people, visual taste, taste in emotion - and there is taste in acts, taste in morality. Intelligence, as well, is really a kind of taste: taste in ideas.

  Susan Sontag

  Ideas, People, Taste

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• Detachment, lack of sentimentality, originality, a lot of things that sound rather empty. I know what they mean. Let's say, "visual impact" may not mean much to anybody. I could point it out though. I mean it's a quality that something has or does not have. Coherence. Well, some things are weak, some things are strong.

  Walker Evans

  Photography, Strong, Mean

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• I believe in a visual language that should be as strong as the written word.

  David LaChapelle

  Strong, Believe, Photographer

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• My visual quest is driven by a desire to create a universe capable of supporting feelings and ideas.

  Jerry Uelsmann

  Ideas, Feelings, Desire

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• I think it's very, very important that people outside the capital cities, not just Sydney and Melbourne but also Brisbane Perth Adelaide and so on, have the greatest access to the best cultural experiences they can in both the performing arts and the visual arts.

  George Brandis

  Art, Thinking, Cities

  Source: www.abc.net.au

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