Quotes About Language

I visited a new cultural center in Shanghai in 2005 that was pretty much perfect, except for the really badly translated Chinglish signs: a handicapped restroom that said 'Deformed Man's Toilet,' that kind of thing.

We spoke French at home and I didn't know any English until I went to school. My mother was French and met my father when he visited France as a student on a teaching placement.

My favorite country that I have visited would have to be Sweden. I'm such a sucker for the Swedish culture, and I learned Swedish in college, so I like to try and navigate my way around.

I think the problem with people, as they start to mature, they say, 'Rap is a young man's game,' and they keep trying to make young songs. But you don't know the slang - it changes every day, and you're just visiting. So you're trying to be something you're not, and the audience doesn't buy into that.

I'd love to do some collabs or music with Latin artists and in Latin America - we're working on it! I just really love Latin America and the language, culture, foods, people, and it's a place I grew up visiting pretty often.

Most patients enter a doctor's office or hospital as if it were a Mayan temple, representing an ancient and mysterious culture with no language in common with the visitor.

Reading to babies creates such a special parent-child bond and so strongly influences a child's language skills that the American Academy of Pediatrics recommends that doctors and nurses routinely discuss it with parents during pediatric visits.

It's amazing to be able to work with people right at the top of whatever they do... inspiring photographers and stylists with very interesting visual language. The more I do it, the more I enjoy it.

It's kind of the filmmaker's job to use visual, cinematic language in a way possible to tell a story that reaches and touches as many people as possible.

Well, visual language is another boring discussion about the nature of film.

I submerged myself in all the information that I could find about Idi Amin. I mean, before I left Los Angeles, I was studying Kiswahili. I was working on the dialect. I was studying every documentary and tape of him that I could find - not just visual, but also audiocassettes, even in other languages when he was speaking in other dialects.

I think of myself as a translator. I just change the dry, unfeeling language of data into a visual language that allows for feeling.

I am a film director, and I work with a visual language, with a visual medium. And I try to make virtue of the use of this visual medium. And I try to make sure what I do speaks the language of cinema.

One advantage of photography is that it's visual and can transcend language.

In a film we have limited time and space to say what we have to, hence the visual language and brevity needs to be paramount. In a novel, however, we can dissect each thought and emotion and build on it.

There is research proving that deaf people have increased visual abilities.

Man is used to the fact that there are languages which he does not at first understand and which must be learned, but because art is primarily visual he expects that he should get the message immediately and is apt to be affronted if he doesn't.

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.

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

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.

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.

I live in words. I like looking at things, but I don't have a strong visual imagination.

The ability to have somebody read something and see it, or for somebody to paint an entire landscape of visual imagery with just sheets of words - that's magical. That's what I've been trying to strive for - to draw a clear picture, to open up a new dimension.

Visual art is a foreign language I'm fluent at, but my native language is language.