A Quote by Dan Povenmire

If you want a lot of visual humor, the way to do it is have visual people do it. — © Dan Povenmire
If you want a lot of visual humor, the way to do it is have visual people do it.
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.
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.
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.
Nothing scales quite the way a sci-fi feature does, I mean, you can always add more visual effects; you can spend a lot of money on the visual fidelity alone.
Well, I think my stand-up is often kind of visual. Not like Carrot Top visual, but visual.
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.
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.
You must have a visual sense if you want to be a photographer. It is a very subtle thing, this visual business.
As far as stimulus from the visual arts specifically, there is today in most of us a visual appetite that is hungry, that is acutely undernourished. One might go so far as to say that Protestants in particular suffer from a form of visual anorexia. It is not that there is a lack of visual stimuli, but rather a lack of wholesomeness of form and content amidst the all-pervasive sensory overload.
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.
The idea of discussing psychological and philosophical ideas in a visual medium was really exciting to me. I thought I was going to go into philosophy...and suddenly I found this way to combine that with my love for visual mediums.
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.
Tattoo is the magic word. It hits people in a way that no other visual medium does. And it is not simply visual, but visceral. Everybody has an opinion about it and everybody has a gut reaction. And because they are permanent, tattoos raise all these issues about life and death.
It's a tremendous asset if you have a visual eye because you can make huge visual statements in a very theatrical way and play to the strength of theatre. But the high end of directing is working with actors and making the acting the best it can be.
You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.
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.
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