Quotes About Interpretation

The ability to have somebody read something and see it, or for somebody to paint an entire landscape of visual imagery with just sheets of words - that's magical. That's what I've been trying to strive for - to draw a clear picture, to open up a new dimension.

Visual art is a foreign language I'm fluent at, but my native language is language.

There are a lot of directors out there who are very specific, visual craftsmen, and while I have the utmost respect for that, they don't really communicate with the actors.

I love making up visual works of art in language. I get to be an artist without actually being an artist in that sense.

It's important that period films aren't seen as just a lovely visual exercise.

I write about art out of gratitude to painters for the joy and spiritual uplift they have given me. Painters interpret for us the visual glories of God and, in this way, bring us closer to Him.

I read things and imagine them and then kind of start trying to kind of take what I imagine and make it visual for everybody else to see. It just happens to be my personal vision, and every person's is going to be different, every book reader.

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.

Memes can be visual. Our image of George Washington is a meme. We don't actually have any idea what George Washington looked like. There are so many different portraits of him, and they're all different. But we have an image in our head, and that image is propagated from one place to another, from one person to another.

I continue to write essays about art. The visual is always part of my work, and it gives me immense pleasure to make up the words of art and create them verbally rather than build them.

I have a longstanding fascination with visual art. I do, in fact, draw as well, as I did in 'The Summer without Men.' I also write essays about visual art.

I am always telling students that a story is not just words. You can tell a story with dance or paint or music. Kids and adults are visual learners, auditory learners. There are those of us who need to touch it. Storytelling encompasses so much more than words on paper.

Art about art and backstory has taken over visual pleasure.

I think the power of opera has been shifted from the music to the director, because this is a very visual age that we live in.

Hearing about a visual artist's approach can change the way you think about songwriting.

I couldn't do a record without knowing I'll translate it into something visual.

I trust the readers to build their own visual images. To me, that's part of the wonder of reading.

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

As a director, I start with the visual.

The way it works in commercials is they come to you with the script, and then you do the visual, you do the storyboards, and you give your vision of it, but it's very much their baby. You just kind of put your polish and sheen on it and your interpretation of it, but it's very much the agency's idea.

I'm a visual person, a conceptual person.

I started as a visual artist and I've always dealt with music in that same sort of way.

You cannot own a symphony or a novel in the way you can own a Damien Hirst. As a result there are far fewer fake symphonies or fake novels than there are fake works of visual art.

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