Quotes About Visuals

I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.

Without the pictures seducing you, TV was just a powerless talking ghost.

A strong story will carry weak animation, but the most polished animation can't save a weak story.

In cigarettes, we have pictures of blackened lungs on the packs. But packets of potato chips don't bear the picture of an obese heart patient, right?

I find that movies tend to fix the aesthetics of a story in people's minds.

Comics are words and pictures. You can do anything with words and pictures.

Steve paid attention to every nuance of the slides, even details that, as far as I could tell, were invisible to the naked eye, like font kerning—which is adjusting the space between letters—and font smoothing to make sure the curves on each font were perfect. He hired a presentation professional, Wayne Goodrich, to help finalize these details and to make sure that at every single stop on the road show, all the pieces were in place to show the presentation and video perfectly.

Ever since I was a little child, I refused to see movies of books that I loved. Because you already know what Heidi looks like and she doesn't look like Shirley Temple.

Unlike Facebook or Instagram, Twitter's core experience isn't about photos. It's a world of text, with occasional embedded photos, animated gifs, and short video clips.

Usually, if you notice good cinematography, then the cinematographer's failing. I try to make light feel like it's always motivated and natural in some way and hope that the lighting goes unnoticed.

The way I work with my cinematographer is not based on general principles, but the ideas are triggered by the locations where we shoot.

A good picture book should have events that are visually arresting - the pictures should call attention to what is happening in the story.

Professional cinema image-taking should integrate, serve, interest, and enhance the story. I judge cinematography not just for a story well told but for what the story is.

It's weird - on almost every film I've worked on, the first sequence we storyboard ends up being the first sequence that goes into animation, and ends up being almost shot-for-shot the same.

I'm not a very big fan of 'Slumdog Millionaire.' I think it's visually brilliant. But I have problems with the story line. I find the storyline unconvincing.

The glory of 70mm is the sharpness of the image it offers.

I just want my music to involve an audience in what's taking place onscreen.

I liked the name Frog Brigade because it lent itself to a lot of cool imagery with the whole frog thing.

"What is the use of a book," thought Alice, "without pictures or conversations?"

'What is the use of a book', thought Alice, 'without pictures or conversations?'

I believe in 3D for certain kinds of films. I certainly believe in using 3D for all things in animation because animation has such clarity and so much depth of focus. It worked great with 'Avatar' because 70 percent of that film is animated.

I don't like pictures in books. I feel that the pictures diminish the words, and the words diminish the pictures, and it doesn't work.

In my films that I've directed, and my work in commercials and videos, I've rarely used handheld. It's just not something I'm drawn to, but I've seen it done very well.

Our band has always been really big on imagery. We've kind of used that as one of our strengths; we tend to do that pretty well.