A Quote by Devendra Banhart
John Cage is someone I got into as a visual artist, before I even knew his music. I don't think a lot of people even know that he does visual art.
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If you're going to be a visual artist, then there has to be something in the work that accounts for the possibility of the invisible, the opposite of the visual experience. That's why it's not like a table or a car or something. I think that that might even be hard for people because most of our visual experiences are of tables. It has no business being anything else but a table. But a painting or a sculpture really exists somewhere between itself, what it is, and what it is not-you know, the very thing. And how the artist engineers or manages that is the question.
I think that if someone told me I could have been a visual artist, I might have been a visual artist instead. And if I'd known I could have done art history, I would have done that. But I just didn't know.
Unlike a lot of choreographers, I don't always start with the music. I often start with a visual artist, and then find music that fits the world of that visual artist.
I've been a visual artist my entire life, so translating music to imagery has always come naturally to me. Tycho is an audio-visual project in a lot of ways, so I don't see a real separation between the visual and musical aspects; they are both just components of a larger vision.
I'm a visual thinker. With almost all of my writing, I start with something that's visual: either the way someone says something that is visual or an actual visual description of a scene and color.
Obviously, something like ballet, you have music, you dance with the music and it's a very direct connection. With visual art, when there's no music that accompanies the art, such as great masterworks in a museum, you wind up interpreting what the artist is doing, how the artist made that work and what they're conveying.
Sometimes when I write lyrics there are images in them, usually on a quite simplistic level, like colors. But most often music comes first and then later I sit down with visual people and we chat about what we want to do. I don't look at myself as a visual artist. I make music.
I wanted to create this dialogue between music and visual art and vice versa. No matter what part of the spectrum they fill, whether it's visual, music, or whatever, artists are interested in other art forms. Your brain is already kind of firing in that way.
I'm a really visual artist, and I love writing treatments for music videos, photo shoots, fashion, and all the visual parts that go along with making an album.
Because it's visual art, a lot of it comes from childhood experience but then a lot comes from the visual language - in advertising and stuff like that - which is around us.
The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.
Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.
Well, I think my stand-up is often kind of visual. Not like Carrot Top visual, but visual.
I was a painter before I was a writer, so I was always a visual artist. And my writing, to me, was always visual.
I think naturally I'm a very visual kind of person. If I wasn't in filmmaking, I'd be in something related to visuals. And I used to actually work as a visual-effects artist.
In sound design programs now, you can literally sculpt the sound on visual graphs. Sometimes the visual programs are even more interesting than the music that's making them
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