Visuals Quotes

Women spend their lives trying to look good for men. So a woman who feels she's sending the right visual signals is pleased with herself.

The primary purpose of the Museum is to help people enjoy, understand, and use the visual arts of our time.

I don't like seeing myself on television and I don't enjoy filming. What I actually enjoy is thinking about how I am going to express something or how we are going to make the visual metaphor.

I like visual layers, stylistically, that's something I enjoy and seek to do.

Usually when I'm making a movie, what I have in mind first, for the visuals, is how we can stage the scenes to bring them more to life in the most interesting way, and then how we can make a world for the story that the audience hasn't quite been in before.

In addition to writing in received forms, I have also had fun making up forms - Möbius strips and visual poems, particularly.

I love Rauschenberg. I love that he created a turning point in visual history, that he redefined the idea of beauty, that he combined painting, sculpture, photography, and everyday life with such gall, and that he was interested in, as he put it, 'the ability to conceive failure as progress.'

I start by thinking I'm going to make use of all possibilities without troubling any longer about problems when something starts to be art. I don't make the ETERNAL work of ART, I only give visual information.

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

Even though fixed in time, a photograph evokes as much feeling as that which comes from music or dance. Whatever the mode - from the snapshot to the decisive moment to multi-media montage - the intent and purpose of photography is to render in visual terms feelings and experiences that often elude the ability of words to describe. In any case, the eyes have it, and the imagination will always soar farther than was expected.

He stood staring into the wood for a minute, then said: "What is it about the English countryside — why is the beauty so much more than visual? Why does it touch one so?" He sounded faintly sad. Perhaps he finds beauty saddening — I do myself sometimes. Once when I was quite little I asked father why this was and he explained that it was due to our knowledge of beauty's evanescence, which reminds us that we ourselves shall die. Then he said I was probably too young to understand him; but I understood perfectly.

To write well, to have style ... is to paint. The master faculty of style is therefore the visual memory. If a writer does not see what he describes-countrysides and figures, movements and gestures-how could he have a style, that is originality?

The Hulk was a unique character because of his strength and power. He doesn't have a costume like Spiderman or like Superman - The Hulk is more visual. His passion and his strength, that is what separates him from anything else.

I consider myself more of a visual comedian than a physical one.

I love writing dialogue, and I think a lot of my writing is visual and very cinematic.

I go to a very visual place when I'm singing. It's very cinematic and I get this feeling of space. I love when music does that.

Everything today is such a massive visual show. It's very rare to get a film where the characters are raw and real - and you can take people back to where they are watching live cinema. With character-driven action. Not visual-driven action.

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.

The ultimate role of photography as a contemporary language of visual communication consists of its capacity to slow down our fast and chaotic way of reading images.

You've got to bring the emotion, and you have to understand that you can't touch other people if you're not touched. You can't move other people if you're not moved. So if you're just giving some frickin talk you've memorized over and over again, you're going to have a flat affect. If you've just got a bunch of visuals on the screen that are leading your talk, hang up your shoes and get the hell out of there.

Music is relegated to an underground, relatively obscure group of listeners. It's partly because of the nature of the medium. With a piece of visual art, you can look at something ugly, brutal and in your face, but it's kind of - there it is. It doesn't take you over in the same way that putting on the music at a certain volume does.

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.

Even more ominous ... is the fact that since the Second World War a new kind of intellectual has emerged in large numbers. ... he is only minimally interested in the proper intellectual significance of images and objects. Such people are not really intellectuals, but visuals ... A visual is more interested in style than in content ... A visual does not feel a rioting crowd being machine-gunned by the police, he simply sees a brilliant news photograph.

An echo is a good way to describe the photogram, which is a visual echo of the real object. That's why I like to work with the photogram, because the contact with what is represented is actual. It's as if the border between the world and the print is osmotic.

I want to show the event at the very moment it takes place.... My body must be anchored to the ground and seek the best point of view, without any visual taboos. But then, at the heart of the event, my effort is to disappear, I introduce a distance that borders on indifference.

I like to hide my camera and use a remote control, because then no one knows when I'm actually imprisoning their souls in the visual plane of thought or just sitting there, waiting, and then making time stop. The printed film is like a bell used to symbolize its hour. Except it stands for both that hour's and everything's sudden stopping.

I come from a visual background, and I grew up around a lot of hippies and artists. My mom and my brother and I moved around a lot. We basically moved every couple of years, and I went to a lot of different schools. But creativity, for us, was always a way of life. It was never a job. Being an artist was a passion and a way of life.

Is the beauty myth good to men? It hurts them by teaching them how to avoid loving women. It prevents men from actually seeing women. It does not, contrary to its own professed ideology, stimulate and gratify sexual longing. In suggesting a vision in place of a woman, it has a numbing effect, reducing all senses but the visual, and impairing even that.

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.

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.

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."

Visual renditions of war not only establish what can be seen, and the audio-track established what can be heard, but the photographs also "train" us in ways of focusing on targets, ways of regarding suffering and loss.

The visuals and the audio, could stand by themselves in a way. But the whole idea of the thing, is that they would exist together. So I think together, they're way more of a stronger thing. You could listen to just the music, or just watch the video, but I think it would really mean... obviously it would just be half the experience.

Human beings are really attuned to their senses. When you work in film, you are working with the visual and audio senses. An understanding of tactile and other components that go into the creation of those objects are important to making them look real on screen, like a plasma of energy.

For me and my films I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional and I want you to be engaged with not just the scene but with the characters.

I love doing film soundtracks and working with directors on how they want the scene to be portrayed on audio as opposed to visual. I like the collaborative effort of working with people.

But audio is a component of video, so there's always been that anyway, and although we've never expressed a visual side apart from the Grateful Dead movie, I don't find it that remote, you know what I mean? It's a departure of sorts, but it's like a first cousin.

If a chemical drug like Viagra is accepted by society and by the world to ignite desire, then what is the problem with my audio-visual drug called cinema which ignites desire? Both are basically doing the same thing!

I think that being a film composer, someone that gets it and actually applies the music, it allows you to open up a spectrum of feeling. You're now allowed to approach the music from an audio visual perspective.

For some years now, I've been doing a program called "Sinatra Sings Sinatra." It's been going on virtually since the end of '98. Nineteen ninety-eight was the year Frank Sinatra died. ... Now having reached what would have been his 100th year - I decided back in 2013 when we started to put all of this together, I decided what we should do was the first "Sinatra Sings Sinatra" in which we go audio visual.

I am a musician who stopped working with music. Now I work with visual music, or audio-visual music.

Yes, for me audio-visual performance has its roots in my experience working as an improvising musician and composer.

In a world full of audio visual marvels, may words matter to you and be full of magic.

Images are not only visual. They're also auditory, they involve sensuous impressions, bundles of information that come to us through our senses, and mainly through seeing and hearing: the audio-visual field.

Quite honestly, if I were doing work related to a living being or historical being where there was visual or audio recordings available, I would find that extremely difficult because I don't know how you would avoid the process of mimicry. And mimicry, to me at any rate, is a very dull prospect.

My approach is to 100 percent get the concept and the visual right. Get the client to love the space. Once they love the space, everything's possible.

Today the major reason for our interest in Flatland is that for the first time we can achieve some of the dreams of our ancestors a century ago and obtain direct visual experience of phenomena in a dimension higher than our own.

Television has accustomed us to brief, intimate, telegraphic, visual, narrative messages. Candidates are learning to act, speak, and think in television's terms. In the process they are transforming speeches, debates, and their appearances in news into ads.

I believe education in music, theater, dance, and the visual arts... is part of a well-rounded education and can provide so much joy, now and in the future.

I wanted to write something visual that I could read to the children. This was when I created the idea of Redwall Abbey in my imagination. As I wrote, the idea grew, and the manuscript along with it.