Quotes About Visual

Words aren't very good at describing complicated, strange visual things. You can try, and the reader will have some sort of image in their mind, but words aren't good at that.

At some stage in the process, most mainstream pop records are being manipulated and possibly completely rebuilt on a computer, with a visual program.

There's definitely a visual aspect and an emotional aspect to a song. And that harks back, for me, to theater.

Film and theater are about misdirection and making the audience see something. I find it interesting. One of the things we do in 'True Blood' is shoot all of our stunts in camera. Instead of doing some kind of visual effect, we try to make it happen.

Two things I'm obsessed with are the countryside and fields and being in the open space and body parts, so you'll hear me mentioning body parts and human anatomy. I've listened to my songs and I think I am quite visual and I talk about bones and flesh a lot.

Every day the eye is subject to a thousand tiny shocks as a thousand industries compete for the eye-kick, the visual hook that will lock the consumer into product for that crucial second where the tiny - or not so tiny - leap of the imagination is made.

I am primarily a writer of books, and I enjoy that. But I come to realize that a lot of people prefer a visual medium.

I know some children's writers write for specific children, or for the children they once were, but I never have. I just thought children might like my sort of visual humour.

I write on a visual canvas, 'seeing' a scene in my thoughts before translating it into language, so I'm a visual junkie.

I think the problem with visual media like TV is that they're reductive.

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

Film is mostly a visual medium, and so the director has much more control in terms of painting pictures and painting a performance. For theater, the director does everything he can and then says, 'Out you go,' and the actors are in charge of that stage every night.

If you imagine yourself as a craftsman at ILM, you spend your days tumbling buses and animating shards of glass. You're doing a lot of visual effects work.

The world we live in is not purely visual. For me it's totally poly-sensorial so the tactile, sensual aspect of living in the work that I do is brought to the fore.

Video is a funny thing. It's one thing to be an artist, singer-songwriter, and use words and create pictures in people's minds. And then be asked to do video for it, to actually give a certain visual for your song.

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.

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.

I'm into old-time music; I'm not very interested in modern, popular music at all. And if I'm really into some particular old-time musician, some fiddler or banjo player, I'm always dying of curiosity to see what they look like. So there's some connection between visual images and music.

When I make music, it's a very visual thing. Conjures up a lot of images.

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.

I don't think music is the first thing I turn to. For me, I think visual art is more the thing. Sometimes when I've been doing music for a while, I can't really take any more in.

I met a 13-year-old black child, Raymond, who had never been to school and had never learnt any words, yet it seemed to me that he was intelligent. It became apparent after a short period that Raymond thought in terms of visual signs and movements.

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.

Cinema is a visual language, and you're always looking for visual metaphors for things. You know, if I was writing a play about Howard Hughes, I could have him give a monologue about how he's terrified to touch a doorknob. But on screen, you know, working with Marty Scorsese in 'The Aviator,' that became the series of images that told a story.