A Quote by Michael Ian Black

Well, I think my stand-up is often kind of visual. Not like Carrot Top visual, but visual. — © Michael Ian Black
Well, I think my stand-up is often kind of visual. Not like Carrot Top visual, but visual.
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'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.
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.
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.
Television is a visual medium. You have to create some kind of visual interest. And it's entertainment for your eyes.
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 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.
At times I can't help going for visual comfort. Sometimes a picture fills up your head, and you try to move the actors around to make that visual statement.
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.
For me, the perfect film has no dialogue at all. It's purely a visual, emotional, visceral kind of experience. And I think one can create wonderful depth and meaning and communication without using words. I started out as an illustrator and a cartoonist and caricature artist, so for me the visual is primary.
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.
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.
That's why I ended up going to Lancaster University, because they had a visual arts course, and in the first year it was like a broad visual arts course in sculpture, painting, graphics - all of that.
We are visual creatures. Visual things stay put, whereas sounds fade.
You must have a visual sense if you want to be a photographer. It is a very subtle thing, this visual business.
I'm a visual person - when I write, my input is always visual. I worked in television for several years.
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