A Quote by Dennis Potter
Some of the words and symbols and images from childhood will continually be part and parcel of my personality.
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What I am trying to do when I use symbols is to awaken in your unconscious some reaction. I am very conscious of what I am using because symbols can be very dangerous. When we use normal language we can defend ourselves because our society is a linguistic society, a semantic society. But when you start to speak, not with words, but only with images, the people cannot defend themselves.
Art is, like magic, the science of manipulating symbols, words or images to achieve changes in consciousness
Brand-image campaigns establish contact with the subconscious of the consumer below the word level. They do this with visual symbols instead of words, Mr. Martineau says, because the visual symbols are far more significant. They communicate faster. They are more direct. There is no work, no mental effort. Their sole purpose is to create images and moods.
A book is a physical object in a world of physical objects. It is a set of dead symbols. And then the right reader comes along, and the words—or rather the poetry behind the words, for the words themselves are mere symbols—spring to life, and we have a resurrection of the word.
That’s what the human brain is there for—to turn the chaos of given experience into a set of manageable symbols. Sometimes the symbols correspond fairly closely to some of the aspects of the external reality behind our experience; then you have science and common sense. Sometimes, on the contrary, the symbols have almost no connection with external reality; then you have paranoia and delirium. More often there’s a mixture, part realistic and part fantastic; that’s religion.
I don't really think I have the personality. I am not very external. I don't want to dance on the table and do impressions. So I think that the way I approach it is really loving story. That's my first love - the words. The words and the story and how to create images. I guess I come at that as a director. I think that's much more in my personality to be a director, so that's kind of informed my acting.
Typically there are little fragments of specific words and images swimming around in my mind, and then at some point, I'll sit down with the guitar and everything will fall into place. It's like your brain is a drain with a bunch of words and images dropping into it, swirling around. The drain is stopped up, but you can feel these things dropping into it. Then at some point, someone comes along and pulls the plug out of the drain and everything comes together in the song.
Even the uncaptioned art photograph is invaded by language in the very moment it is looked at: in memory, in association, snatches of words and images continually intermingle and exchange one for the other.
Elizabeth A. Johnson explains that including divine female symbols and images not only challenges the dominance of male images but also calls into question the structure of patriarchy itself.
My whole life, I've been judged for how I look, which is part and parcel of being in the public eye, playing sexy roles and posing for lad's mags, but I want people to like me for my personality and brain.
When I do only images, people don't connect with the images because the images are too weird to understand. But when I explain the weird images with straight words, then all of a sudden there is a tension between the two that the audience wants to see.
First of all, directing is an idea that you have of a total flow of images that are going on, which are incidentally actors, words, and objects in space. It's an idea you have of yourself, like the idea you have of your own personality which finds its best representation in the world in terms of specific flows of imaginary images. That's what directing is.
We must find out what words are and how they function. They become images when written down, but images of words repeated in the mind and not of the image of the thing itself.
I began as a graphic designer. As part of my work, I created film symbols for ad campaigns. I happened to be working on the symbols for Otto Preminger's 'Carmen Jones' and 'The Man With The Golden Arm' and at some point, Otto and I just looked at each other and said, 'Why not make it move?' It was as simple as that.
I will make a lot of mistakes and have to learn from them. It is part and parcel of the captaincy.
In some areas, [Getty Images has] more images than the rest of the market put together. But libraries are being built up at a terrific pace. A photographer in a lifetime will produce maybe a million images, and there are about 15,000 professionals at work out there.
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