Simplicity is all. Simple logic, simple arguments, simple visual images. If you can't reduce your argument to a few crisp words and phrases, there's something wrong with your argument. There's nothing long-winded about 'Liberté, égalité, fraternité'.
What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.
Music is a spiritual doorway its power comes from the fact that it plugs directly into the soul, unlike a lot of visual art or textual information that has to go through the more filtering processes of the brain.
What we need is a critique of visual culture that is alert to the power of images for good and evil and that is capable of discriminating the variety and historical specificity of their uses.
I was very young, maybe five. The opera was very... I was attracted to opera to the point that I think it's the reason I started to write music for films. I never studied. There are film and music school that teach you how to write music. I never studied that. But the influence of opera, which is a combination of storyline, visuals, staging, plus music... that was perhaps the best school I could have had. That's what gave me the idea of coming to Hollywood to write music for films.
Maybe there is a sort of a sweet middle ground there, where you can do something with something with like 20 to 40 million and do something which is much more character driven, but still create a sort of visual spectacle around it. That is what I'd like to do.
The visual side of being a performer or in a band is, to me, as important as the music. I know not everyone shares that same opinion, but when I'm writing songs or working on lyrics or coming up with an idea, I think about videos as I'm in the studio. If I had all the money in the world, I would have the most amazing videos ever, you know? You're saying grandiose, and big; if the song warrants it, I try to push the visuals as far as I can.
One of the more distant concerns is with the visual interpretation of the music. I find it fascinating but I don't always particularly get involved with it.
The idea of using media for expressing yourself artistically is kind of something I learned from my mother and my father. So for me, I think growing up wanting to be an artist, I always imagined myself sort of crossing over or mixing media and so it was a natural evolution for me to try to express in a filmic way or in a visual way. It just kind of seems like a natural sort of progression for me in terms of what I'm trying to do as an artist.
I love working with actors. I love visual things. I always intended to be a writer who directs and a director who writes.
There's another aspect about the Seventies. Blazing Saddles, as wonderful as it was, sort of hurt the Western. It made such fun of them, that you almost couldn't take them seriously from that point on. That's why only Westerns that had the stink of Watergate or Vietnam could be taken seriously. There were so few Westerns made since then, from the Eighties on, that the few directors who did were so pleased with themselves and so happy to have the opportunity that they got lost in visuals, they got lost in the vistas and the pretty scenery.
I'm more of a visual person, but I think that reading's extremely important. But I'm very easily distracted. It takes certain books to really grab you in.
Visual surprise is natural in the Caribbean; it comes with the landscape, and faced with its beauty, the sigh of History dissolves.
80 percent of learning is visual, so children who can't afford vision correction are at such a disadvantage.
For me, movies should be visual. If you want dialogue, you should read a book.
It is no longer enough to simply read and write. Students must also become literate in the understanding of visual images. Our children must learn how to spot a stereotype, isolate a social cliche, and distinguish facts from propaganda, analysis from banter and important news from coverage.
At the age of 80, I'm becoming a visual artist. This could be my rebirth.
You can be an artist without visual images, a reader without eyes, a mass of erudition with a bad elementary memory. In almost any subject your passion for the subject will save you. If you only care enough for a result, you will almost certainly attain it. If you wish to be rich, you will be rich; if you wish to be learned, you will be learned; if you wish to be good, you will be good. Only you must, then, really wish these things, and wish them with exclusiveness, and not wish at the same time a hundred other incompatible things just as strongly.
Communicate with visual literacy - Make good use of all the non-verbal ways of communication - color, shape, form, texture.
The idea part is simple but the visual perception is complex.
I was interested in ideas, not merely visual products. I wanted to put painting once again at the service of the mind.
Be drawn to the visual arts for it can expand your imagination.
The most important thing to do as an artist is to get out of your comfort zone and work with different people: people who can't read a note of music, people who have incredible classical skills, blues and jazz musicians, pop artists, visual artists, dancers and actors. Learn from people who are creative in a different way to you and you'll keep evolving.
Art shouldn't be something that you go quietly into an art gallery and dip your forelock and say 'I have to be very quiet, I'm in here amongst the art.' It's here, art's everywhere. It's how you use your eyes. It's about the enjoyment of visual things. And it's certainly not for any one group of people.
Seeing, despite the name, isn’t merely visual.
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