Quotes About Viewer

In virtual reality, we're placing the viewer inside a moment or a story... made possible by sound and visual technology that's actually tricking the brain into believing it's somewhere else.

For every reader who dies today, a viewer is born, and we seem to be witnessing . . . the final tipping balance.

I'm thrilled to continue the tradition of the spectacular, cinematic, horrifying, exciting and emotional storytelling of 'The Walking Dead.' I'm a huge fan of the comics, and started with the show on the other side of the set, as an avid viewer.

It is hard to lift up your own misfortune. To be at once the viewer and the viewed. To be both above and below. The one below is a spot, a shadow . . . To consider your own person in the light of eternity (read: in the light of death). To rise into the air. The world from a bird's-eye view.

To the viewer, who has little emotional investment in how the work gets done, art made primarily to display technical virtuosity is often beautiful, striking, elegant...and vacant.

The Pink Panther is supposed to use humor to uplift. Instead, I departed this movie feeling depressed. Lifeless comedies can suck the energy out of a viewer, especially when they sully the image of an cinematic icon.

What I loved about 'Strictly' as a viewer and contestant was that it was warm, family entertainment. So it is a shame for the show when controversy surrounds it. That is not what we like about 'Strictly.'

@BretEastonEllis 31 MarAfter watching the delirious Room 237 I realized that the worst thing happening to movies was the empowerment of the viewer via technology.

Humor is basically a cognitive process. And it's a creative process not only on the part of the cartoonist but on the part of the viewer.

As a viewer, I really want to watch author-backed stories, and there is something amazing about thrillers, the way it captivates your imagination.

Healthy entertainment does not evoke raw emotions in the mind of a viewer only to make them wreak havoc, rather it guides those emotions in a healthy direction.

I think romance is a tool, comedy is a tool and drama is a tool. I really just want to tell stories that challenge the viewer, move people, make you laugh, perhaps push an idea about being open-minded but never settle on a genre or an opinion. I hate genre. I like movies that are original in their approach.

Precision is easier to master than artful vagueness, especially now when, thanks to Google, novels are fact-heavy. We no longer refer to "flowers" but to particular varieties of roses. The whole valuable distinction between foreground (precise) and background (blurred) has been lost, and now everything is crowding toward the viewer, clamoring for attention.

CNN doesn't waste time trying to solve a crisis or educate the viewer.

I have a very high tolerance for gore and blood. I am, like, the perfect horror movie viewer because I do not get scared very easily. I can really stomach anything so, as a result, I have watched a lot of really disgusting stuff that I should probably never have seen.

When you're watching a Hitchcock movie, you, for most of the movie, are playing the guessing game. What's the endgame? What's the plot? How are these people involved? It's the best way to tell the story, and as a viewer, that's what you want to experience.

In the voyeurism of Reality TV, the viewer's passivity is kept intact, pampered and massaged and force-fed Chicken McNuggets of carefully edited snippets that permit him or her to sit in easy judgment and feel superior at watching familiar strangers make fools of themselves. Reality TV looks in only one direction: down.

With VR, you are directing in a 360-degree environment. The biggest challenge is that the viewer can look anywhere. They might look at the the weakest moments, the very things you edit for TV. You don't control where they look.

While there are certainly food-focused content out there on the Web and on TV, most of this content need to weave through many layers of editing before it reaches the viewer.

His definition of neighbor was simple: the person you happen to be with at the moment—whether that person is a Samaritan, a hermit bearing gifts, or a television viewer.

It doesn't matter if a critic pans or praises my movies, I am only concerned about that one audience member and what their experience is.

The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer's journey, shifts the emphasis from process to product, and lacks individuality and openness. It's not that art should be seen only in rutty bombed-out environments, but it should seem alive.

For the casual viewer, Kurosawa's films can be an exercise in endurance.

For me, this is when the act of watching transforms into the act of witnessing. To witness something implies a responsiveness, the response/ability of the viewer toward the performer. It is radically different from what we might call the 'consuming' gaze that says 'here, you entertain me, I bought a ticket, and I'm going to sit back and watch.' This traditional gaze doesn't want to get involved, doesn't want to give anything back.