Quotes 1 till 20 of 29.
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Create your own visual style... let it be unique for yourself and yet identifiable for others.
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Although my art work was heavily informed by my design work on a formal and visual level, as regards meaning and content the two practices parted ways.
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Around the time I began starving, in the early eighties, the visual image had begun to supplant text as culture's primary mode of communication, a radical change because images work so differently than words: They're immediate, they hit you at levels way beneath intellect, they come fast and furious.
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Be drawn to the visual arts for it can expand your imagination.
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But in the old days, visual artists used to fall into two distinct categories: those of us who created images with cameras and those of us who applied stuff onto other stuff, with brushes or other tools.
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Dialogue should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms.
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Different people have different styles, but there is an opportunity as a director to be a writer in every moment, with every visual cue and every piece of production design. Everything is a decision, and everything can be obsessed over.
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Film is much more visual, a scene is typically a lot shorter, you're dealing with a lot more characters, a lot more locations, and you're able to rely on things that you just can never do on the stage.
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For me nature is not a landscape, but the dynamism of visual forces - an event rather than an appearance.
Quoted in Karl Ruhrberg et al., Art of the 20th Century (2000) -
For me, the perfect film has no dialogue at all. It's purely a visual, emotional, visceral kind of experience. And I think one can create wonderful depth and meaning and communication without using words. I started out as an illustrator and a cartoonist and caricature artist, so for me the visual is primary.
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I don't think of form as a kind of architecture. The architecture is the result of the forming. It is the kinesthetic and visual sense of position and wholeness that puts the thing into the realm of art.
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I think almost always that what gets me going with a story is the atmosphere, the visual imagery, and then I people it with characters, not the other way around.
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I was always a visual person. I could see things visually. I had a harder time with numbers and logic, and I always had more of an artistic sensibility. So that I could do. And it was something that I really loved.
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It has been said that 80% of what people learn is visual.
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Jazz vision for me is seeing my art in musical term. It offers me an visual expressions in an ever-changing musical palette.
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Jazz vision is a wordless conversation between musical notes and visual expressions.
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Let's face facts, this is visual medium, there's a very high premium put on people who are good-looking. But the minute you rely on that you get yourself in trouble. You certainly don't make a career out of that anymore as an actor.
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Nowadays people's visual imagination is so much more sophisticated, so much more developed, particularly in young people, that now you can make an image which just slightly suggests something, they can make of it what they will.
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Radio is such a perfect medium for the transmission of poetry, primarily because there just is the voice, there's no visual distraction.
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So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point.
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