Quotes About Adaptation

The second book was probably the result of the relationship I was in at the time. We were only going to be compatible for a minute, and I think we both knew it. It's like how you can be a different person on vacation, but you know all along you're just visiting that mindset.

Whenever I go to a new country, I always plan in advance. Before visiting the country, I have a look at a few videos: what works over there, what the home team does over there.

I think a pastor used to be viewed as the one-stop ministry shop. The pastor served on every committee, volunteered at every event, and made all the hospital visits. I think that is changing and I think that is healthy. Both for the pastor and the congregation.

When you are adapting a book to a visual medium, you tend to leave a few things and add a few new ones.

When people play action games, they're changing the brain's pathway responsible for visual processing. These games push the human visual system to the limits, and the brain adapts to it.

You know, things that might work in a book just do not work in the visual medium of movies.

The image of the band has always been something that's evolved or changed with every record cycle that we've done. I think, in a lot of respects, that's because we were so interested in having a visual representation for the music that we were making.

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 really believe that the movie will never be as good as the book, both because the book goes on longer - a movie is basically an abridgment of a book - and because books are internal. But they are incredibly powerful. The visual format is, you know, amazing.

If I really believe that visual representation and narrative are ways to convey important, complex ideas, and if the world is gravitating toward this form, then geez, I better do it myself. I want to do it myself.

I do not have a history in set design. I have a history in art. I draw. But I learned set design when I couldn't afford to have a team and I didn't want to look like I was indie. I wanted to give fans the visual.

The visual of Deadpool was very informed by Spider-Man.

The ghost story is a popular genre of mine and is particularly adaptable to the visual media.

I use the aid of technology while running through songs. Visual tuners and feeling the vibrations through the floor to keep time.

It's always a challenge to adapt a novel for screen, a visual medium.

I feel like visual art, the culinary arts, the theatrical arts - the medium changes, the tools that you use to tell whatever the story changes, but you're still all telling stories.

When I first became really interested in building furniture, I went to Toys-R-Us, and spent $200 on Transformers toys. By taking the toys apart and studying how they moved, I was able to figure out how to hide a table leaf, what type of contraption I'd need to slide it under the table. I'm a really visual learner.

When I was a kid, it was thought I would do something in the visual arts because I was always drawing, but when we emigrated to Australia from Holland when I was seven, I learnt the English language, and I fell in love with it.

Your career is not going to go the way you planned. It is impossible at the age of 23 to pick the right industry, the right company, and you can visualize what you're going to be doing in your 40s, 50s, and 60s, but chances are that it's going to be something quite different. So remain open to opportunities and change.

I learn in different ways. If I can visualize what's going on and see what's happening, I can go out there and do it out there on the field.

For so many years, I was watching my tee shots slide hard to the right. I used to think I was hitting a draw at times, and the ball was still curving to the right! I still prefer to play a little fade, but I've had to recalibrate my visuals.

In my head, scenes are shot from certain angles; there are camera pans, all of that kind of stuff. Converting those visuals to comic format was mostly a matter of adapting them to the rhythm of paneling.

Till 'Mulk' and 'Article 15,' I used to deny that there is a change. Now I feel there is certainly a change, what kind of change, I don't know. Now I get attracted to different things - story or a performance. Earlier I used to get attracted to grand visuals, size of the film and how big the starcast was. Now I am not attracted to these things.

The building art is, in reality, always the spatial execution of spiritual decisions. It is bound to its times and manifests itself only in addressing vital tasks with the means of its times. A knowledge of the times, its tasks, and its means is the necessary precondition of work in the building art.