A Quote by Dan Gilroy
I think there's a connection with 'Nightcrawler' and 'Blowup' and other films where visual imagery is integral to the story. It allows you to play with images.
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I think almost always that what gets me going with a story is the atmosphere, the visual imagery, and then I people it with characters, not the other way around.
I think film is about images. Cinema needs good images. I think that if you don’t have good images, it’s not going to be a good film. I think all films should be really visual.
The great thing about visual horror films is there's real potential for strong, beautiful imagery. It's the one genre that really lends itself to creating strong images. And I've always loved that idea of windmills - your mind aimlessly spinning.
We work very hard in all of the Pixar films to not make anything in the imagery that causes people to think of something other than the story.
...There are issues worth advancing in images worth admiring; and the truth is never "plain," nor appearances ever "sincere." To try to make them so is to neutralize the primary, gorgeous eccentricity of imagery in Western culture since the Reformation: the fact that it cannot be trusted, that imagery is always presumed to be proposing something contestable and controversial. This is the sheer, ebullient, slithering, dangerous fun of it. No image is presumed inviolable in our dance hall of visual politics, and all images are potentially powerful.
Because Bin Laden's culture doesn't permit the worship of images, they understand how powerful images are. We wouldn't have thought of creating a visual bomb. In a way, he's chopped down two iconic buildings, and used our very truth imagery, to express himself. It's fascinating... I mean, dreadful.
I've been a little disappointed in directors in America. I'm really after a theater that doesn't just deal with the actual texts that I brought in. But with a director that really deals with images too, that takes the play to another level. We have to remember that theater takes place in the third dimension, and we have to take into consideration the visual aspect of the play. I think images are important for the theater. Because I do write images.
I like visual images and there are certainly other bands that have strong visual images going all the way back to Elvis Presley, but it's kind of like that's never really been my bag. Probably because I'm too shy.
My favourite stuff is visual, and I always want to work with visual artwork. I think it depends on the person, but for me, photographs of an image of something interesting or inspiring is worth a lot more than words to me. I think every concept I've come up with and turned into films or that will be hopefully become a film comes from images first.
It's thought that about 96% of us have visual imagery, and there's a very tiny minority in the population, some of whom are normal, some of whom have brain lesions, who cannot produce visual imagery.
Cinema is a visual language, and you're always looking for visual metaphors for things. You know, if I was writing a play about Howard Hughes, I could have him give a monologue about how he's terrified to touch a doorknob. But on screen, you know, working with Marty Scorsese in 'The Aviator,' that became the series of images that told a story.
I know that in some ways I operate from a kind of antiquated interest in imagery, while many contemporary poets are not so interested in imagery. I think part of it is my training, and just my visual sense of things.
Visual journaling allows us to access our inner language of imagery and express it both verbally and visually, while exploring the connection between image and word.
I've seen films that have made as much as $100, $200 million, but they're not films. They're images. They're flashes. They're many beautiful images, lots of things to look at. They capture you. But it's not a film. It's not something that involves you in a story. They go to cinema now to be blown away by the effects.
Visually, I want to try everything. But I believe that every shot of my films really expresses what I think about the story and the character. The most important thing is the story, not the images.
A crowd thinks in images, and the image itself calls up a series of other images, having no logical connection with the first...A crowd scarcely distinguishes between the subjective and the objective. It accepts as real the images invoked in its mind, though they most often have only a very distant relation with the observed facts....Crowds being only capable of thinking in images are only to be impressed by images.
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