Quotes About Communication

If I'm feeling outraged, grief, disbelief, frustration, sympathy, that gets channeled through me and into my pictures and hopefully transmitted to the viewer.

Amplify, clarify, and punctuate, and let the viewer draw his or her own conclusion.

It's really easy to make a movie that five people understand. It's really hard to make something that a lot of people understand and yet is not obvious, still has subtlety and ambiguity, and leaves you with something to do as a viewer.

I've always wanted to be a songwriter and a storyteller and somebody who conveys a feeling to the listener or the viewer.

I think the notion of traditional anchor is fading away - the all-knowing, all-seeing person who speaks from on high. I don't think the audience really buys that anymore. As a viewer, I know I don't buy it.

I think by laying it out for the viewer I'm avoiding the issue of bias.

As a pundit, it's important to tell the viewer something they might not know, be unbiased and not sit on the fence.

I'm not going to let people get away with either a dishonest or inaccurate premise to what we're talking about because I think that does the viewer a disturbance.

I often concentrate on the eyes and lips, they are great indicators of mood and feeling, and I find that I can project character into my portraits by bringing the viewer's attention to these areas.

Hollywood films are alienating to the spectator because they use too much dialogue, too much explication and leave no space for the viewer. They depress me.

My theme song is always: 'Pay attention to your viewer. Follow them.'

You can't create a movie as you think about it. And what's in the scene is not what's being seen. A shot always means something other than what it is. All are vehicles. A landscape is just a vehicle. The viewer might think different things, and I'm not going to intervene.

Every role is physical to a certain extent, but as a viewer, I don't respond well to actors doing more than they need to tell a story.

I look at graphic design as communication, meaning that the work has to have a vibe to connect to the viewer or perceiver. I make a black and white drawing and then add color digitally, bringing in a contemporary pattern to the composition to create a vibrance.

I try to find a subject that is interesting to me and to the viewer both. If I can't, then I stop right there.

I do feel if we underestimate the viewer, it's at our own peril.

Even the finest actors will have great difficulty showing somebody's loneliness. To put an actor on a chair and ask him to do nothing and yet tell the viewer everything about the character, it's a difficult task.

I don't want to be cosy with the guy who I know isn't saying the truth to the viewer.

If there is something I don't know and I suspect that I need clarification and so does the viewer, I just ask for it.

The greatest skill that I have is what the viewer has: I listen. I try to listen silently.

As an interviewer, I don't think you can dance around the subject. Certainly the interview subject knows if you are dancing, and the viewer knows that you are dancing. If it's a hard question, you just have to ask it.

I want to be honest about my faith, but not preachy, for my viewers and my readers.

If there was a blog with five listeners or viewers, I had to be on it. Now I have to be on fewer media, but more substantive media.

I don't think you really can send an exact message, because any two viewers are so disparate, in terms of their backgrounds, their point of view, their histories, that there's no telling what that message might be.