Quotes About Viewer

Whenever you finish an artwork and the viewer comes and views it, at that moment you've given up control.

My popularity has to do with the divorce between modern art, where everything is obscure, and the viewer who often feels he needs a professor to tell them whether it's good or not. I believe a painting has to talk directly to the viewer, with composition, color and design, without a professor to explain it.

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.

Great art, she felt, had a calming effect on the viewer; it made one stop in awe, which is exactly what Damien Hirst and Andy Warhol did not do. You did not stop in awe. They stopped you in your tracks, perhaps, but that was not the same thing; awe was something quite different

Violence is so terribly fast . . . the most perverse thing about the movies is the way they portray it in slow motion, allowing it to be something sensuous . . . the viewer's lips slightly wet as the scene plays out. Violence is nothing like that. It is lightning fast, chaotic, and totally intangible.

I have great faith in the intelligence of the American viewer and reader to put two and two together and come up with four.

The cool thing about comic books and prose is that if a reader gets confused on page 8, they can backtrack. With films, you sit down in a seat and once the projector starts going you're stuck for the next two hours. There are no do-overs, rewinding or starting again.

Good programming, like good books, asks a little more of the viewer. But no executive today will risk having the viewer bored for even a minute.

The speeding toy cars produce in the viewer the stress of living in a dynamic, active and bustling 21st-century city.

If you watch a news channel, you wouldn't then say that that person who's watching the news channel thinks everything that the news channel puts out. You wouldn't think that.

Every film is faced with the enemy of time. Only so much story can fit into the 90-150 minutes of time that moviegoers are willing to stay in their seats. Naturally, compression is necessary. So are the exclusion and amalgamation of characters so that the viewer does not become bewildered.

I think network TV to a large extent has underestimated the intelligence of the American public for so many years now. It's tried to appeal to the lowest common denominator. I think the average viewer is much more intelligent than that and crave a little more complexity and are willing to pay more attention.

Outer beauty, wherever and whenever, it exhibits; it touches and influences the inner spirit of viewers since that elucidates and reveals human nature in accurate context and concept. Indeed, no one can escape from such natural power.

Postmodernism shifts the basis of the work of art from the object to the transaction between the spectator and the object and further deconstructs this by negating the presence of a representative objective viewer.

Television has a real problem. They have no page two. Consequently every big story gets the same play and comes across to the viewer as a really big, scary one.

I think 'Scarface' is a great film, but if you have a character like Tony Montana, you don't identify with him at all. I think it's very interesting instead to identify yourself with a character you don't like all the time. You can create a tension between the fiction and the viewer. You force the spectator to wonder about his actions.

I am not a big fan of what I call 'ambient television,' which just washes through you in a very polite way. I like television that grabs you by the throat and doesn't let go.

...in our time art is encrusted with a noisy, opaque, logorrhea of theory that prevents a work from coming into direct, media free, non-interpreted contact with its viewer (its reader, its listener)

Her drawing conveyed a forlorn and haunting suspense, as if asking the viewer to wonder whether these creatures would still be alive when the tide came back.

Watching television as a passive viewer is like going on vacation for a while, and leaving all of the doors to your house unlocked. Any crap that wants to get in - will.

The photographs creates a discourse between us and the world, but a discourse that is never neutral, not even in - a photographs taken by a satellite or a surveillance camera. And even if the camera and the photographer were neutral, the viewer is not.

Part of me isn't that interested as a person and a viewer in people's personal lives. I'm much more interested in what people do in the workplace and what goals they set themselves. I guess that's why I write a lot of precinct drama.

One of the reasons why you like to do your own drawings is, your style changes over time. And there's something about that that keeps it fresh to the viewer.

I have to make sure, when you start seeing a film, you are going to see it until the end. I have to, of course, entertain you a little bit. The real question is how far do I go?