A Quote by Wyatt Cenac
I enjoy 'Life Aquatic.' I think that one, from a visual standpoint, is just such a fun, visual movie to look at, whether it's the shots of the ship cut down the middle, that set where you can see everyone in each of their rooms doing whatever and moving about - something like that, I could watch that on a loop for an hour.
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I'm a big fan of fiction film where you have a story and you have to transform that into a visual language, basically working with actors and also transforming that into how you pronounce that in the visual language of the shots, the construction of the shots and the lighting. All of that appealed to me from the beginning of my career at the university. When I graduated from the university, I wanted to deal mainly with that, with the visual aspect of the movie.
There is an animated version of 'Lazer Team,' with all the action sequences, that exists. It's a pre-visual fidelity, and the voice acting is terrible because it's one of our animators doing it. But we could sit there and watch what the scene is supposed to look like while we're doing individual shots.
I think for most people, the audience probably couldn't tell the difference, but I know they [shots of visual effects] can be better. And the people working know they can be more precise. I'm still doing another round of sound mixing and color timing, pretty technical stuff. I think the movie [Life of Pi] is really presentable, nothing was left out that would take you out of the movie. I just need to perfect the job and I still have two weeks to go [to deliver final cut to Fox].
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.
But I think we're also just talking about the literacy of the audience. The visual literacy of the audience. They've seen so many images now, especially here in the States. There's so much to look at, to watch. So the visual storytelling literacy is harder to impress.
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.
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.
I think it's somewhere in my head, in my travel space, and it just comes out. It's a visual thing that happens unintentionally. People will tell me, "You do realize you just spoke with that accent, right?" And I'll go, "Oh, did I?" So it's not something I think about. As we talk, I have a visual about my speech and it just comes out like that. If that makes any sense!
You always like to be the collaborator. I don't want to take over the movie, because if I want to do that, I should really become a director because then you have the control of everything, basically. I'm very happy to just be the visual part of it, doing the visual part of the movie.
An eight-hour movie is definitely not a two-hour movie. An eight-hour movie is really like five independent films, if you think about it, because each is usually an hour and a half. In some ways, it is like making a movie. It's just a lot more information.
Well, I think my stand-up is often kind of visual. Not like Carrot Top visual, but visual.
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 think that there's a strong crossover in that Janis, studying the visual arts, was learning how to break it down into details and see how to get the expression that we wanted. And her visual art is emotionally expressive as her singing was. And, I think, when she switched over to singing, she already knew that it was something serious that you broke into pieces so she developed the ability to break it down and learn little riffs that she could throw in here and there.
I just - I kind of see it that way. I find the higher angles down. I do - look, you can go back to the staircase shots in "Third Man" or the staircase in "La Dolce Vita." So I just find that visual construction in a frame.
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.
From a creative standpoint, I'm interested not only in the idea of helping couples and women, but challenging myself creatively, and doing each one better than the last thing I did. I think by doing that, by adding a visual element to these films, it really makes a huge difference.
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