Quotes About Perception

It's really easy to make a movie that five people understand. It's really hard to make something that a lot of people understand and yet is not obvious, still has subtlety and ambiguity, and leaves you with something to do as a viewer.

A woman doing comedy doesn't offend me, but sets me back a bit. I, as a viewer, have trouble with it. I think of her as a producing machine that brings babies in the world.

I feel my work is made for one being, one individual. You could say that's me, but that's not really true. It's for an idealized viewer.

I don't like the idea the viewer can kind of sit there and go, 'Make me like this person.' People aren't inherently sympathetic.

The art of photography is all about directing the attention of the viewer.

I think the notion of traditional anchor is fading away - the all-knowing, all-seeing person who speaks from on high. I don't think the audience really buys that anymore. As a viewer, I know I don't buy it.

A lot of television assumes the viewer is a bit daft, and I don't think they are.

I often concentrate on the eyes and lips, they are great indicators of mood and feeling, and I find that I can project character into my portraits by bringing the viewer's attention to these areas.

The real change that paintings undergo is in the perceptions of the viewer.

I find as a viewer, when I go to see comedies, the strain to be funny throughout the whole thing. I start to lose my sense of reality, and it ends up feeling like an empty experience; there's funny stuff in it but I've lost the emotional connection to the characters because it's just so bananas.

I am very conscious of the viewer because that's where the art takes place. My work really strives to put the viewer in a certain kind of emotional state.

I'm interested in the space between the viewer and the surface of the painting - the forms and the way they work in their surroundings. I'm interested in how they react to a room.

'I Spy' represents the absence of the tension of the black man or black woman or anyone of that color walking in, so that the white racist person can become entertaining to a viewer.

The better the coverage, the more discriminating the viewer.

I think when your image becomes so big that it's hard for a viewer to see a character, then I think you're in danger as an actor of being unable to perform what you should be doing.

I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.

It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.

You can't create a movie as you think about it. And what's in the scene is not what's being seen. A shot always means something other than what it is. All are vehicles. A landscape is just a vehicle. The viewer might think different things, and I'm not going to intervene.

You finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.

The problem with shooting in Paris is, it's been shot to death. When you're in it, you already think you're in a movie, so how do you get away from that feeling, and give some frisson to the viewer?

There's that rule: Don't show any of the other cameras. Why? Do you think the viewer doesn't think we filmed this?

As a reader and as a viewer, usually when I watch a movie, I'm caught up enough in the movie that I'm not breaking it down to the details anyway.

You can manipulate the viewer in film. With theater, what you see is what you get.

A big reason why I'm not a big TV watcher is that in my formative years as a viewer, there wasn't that much great television on, or at least, television that appealed to me.