Quotes About Viewer

The challenge is, in terms of a canon like 'X-Men,' it's more like 'Harry Potter' and Hogwarts, or 'Game of Thrones.' It needs time and space to evolve and to bring the reader or viewer in and give them a result that's worth the investment of that time.

I want the pictures to be working in both directions. I accept that they speak about me, and yet at the same time, I want and expect them to function in terms of the viewer and their experience.

Hokusai managed to integrate this into a Japanese vision of landscapes and nature prints which strike the Western viewer as utterly Japanese, and the Japanese as totally Western, even today.

I was a diehard fan of '24' since the beginning. But being on the show, there was stuff I never thought about as a viewer, like, wow, it's going to be a single day for 10 months out of your life - you have to look exactly the same every day.

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

Strange, how such a small realization can affect everyone's life forever. In movies there is always a carefully staged moment - a big crescendo of music, close- ups of the actors' faces, the camera slowly pulling away to let all this sink in for the viewer...but, in real life, most all of the extraordinary things happen with no more loudness than a whisper.

Without a viewer, a reader, a listener, art is dead. Something happens between me and it, an "it" that carries in itself another person's willed act, a thing suffused with another person's subjectivity, and in it I may feel pain, humor, sexual desire, discomfort. And that is why I don't treat artworks as I would treat a chair, but I don't treat them as a real person either.

When experiencing a work of art, a curious exchange takes place; the work projects its aura, and we project our own emotions and precepts on the work. The melancholy in Michelangelo's architecture is fundamentally the viewer's sense of his/her own melancholy enticed by the authority of the work. Enigmatically, we encounter ourselves in the work.

Our films have to entertain without the viewer being guided to a humdrum set of do's and don't's. At the same time, as a filmmaker, my films should evoke some feelings, some thoughts in their minds. That's the purpose of cinema. It has to be a learning experience without advocating rights or wrongs in a subtle manner.

The Satellite Home Viewer Improvement Act expires at the end of this year. Thus, we must act quickly to ensure our constituents continue to receive the services they enjoy.

You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he's missed the point.

There are things the artist intends, and things the viewer sees, and what the viewer sees isn't always what the artist intends. Isn't always apparent upon first viewing.

The visual is essentially pornographic, which is to say that it has its end in rapt, mindless fascination; thinking about its attributes becomes an adjunct to that, if it is unwilling to betray its object; while the most austere films necessarily draw their energy from the attempt to repress their own excess (rather than from the more thankless effort to discipline the viewer).

Pure Flix makes evangelistic films, but we also make family films. I think the viewer wants to see quality entertainment that the whole family can watch, and many nonbelievers watch our films because they can watch with their family and young kids.

The hidden child wants to be able to participate and to co-create in art, rather than being simply an admiring viewer.

I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer.

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)

I love TV as a viewer.

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

Perfection does not take into account the viewer.' Pheidias had once said to me. 'It exists on it own, independent of and unconcerned with opinions or utility.

Two objections are often raised when considering these passages. First, that they use phenomenal language. That is, they describe simply what the viewer observes and makes no cosmological claims beyond simply description of what one sees. We even use these terms of the sun rising and setting today and we know the earth moves around the sun. Fair enough.

My favorite types of movies to watch as a viewer are thrillers - I really have a soft spot for them, I love them. Especially psychological thrillers.

The public has a right to art The public is being ignored by most contemporary artists. ... Art is for everybody. ... I am interested in making art to be experienced and explored by as many individuals as possible with as many different individual ideas about the given piece with no final meaning attached. The viewer creates the reality, the meaning, the conception of the piece.

am interested in making art to be experienced and explored by as many individuals as possible with as many different individual ideas about the given piece with no final meaning attached. The viewer creates the reality, the meaning, the conception of the piece. I am merely a middleman trying to bring ideas together.