Top 1200 Audio Visual Quotes & Sayings

I was at art school that had quite a celebrated film course as well. I tried for that film course when I was 18, but they said I was too young. I tried this audio and visual design course instead. Two years later, I reapplied for that higher course, but they said I was still too young and to try in five years.

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 have an audio stigmatism whereby I hear things wrong - I have audio illusions.

From a technical point of view, there seemed to me to be absolutely no reason why - with the existing technology - we couldn't do very high quality audio, because whereas the boom in digital graphics is ongoing, the boom in digital audio has already happened.

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 am a musician who stopped working with music. Now I work with visual music, or audio-visual music.

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.

It's harder to make real audio than special effects audio.

My filmmaking education consisted of finding out what filmmakers I liked were watching, then seeing those films. I learned the technical stuff from books and magazines, and with the new technology you can watch entire movies accompanied by audio commentary from the director. You can learn more from John Sturges' audio track on the 'Bad Day at Black Rock' laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.

I wish that I had re-edited 'Theft By Finding' after I did the audio. Because the audio took 40 hours in the studio, and I was standing on my feet. So toward the end of it I'd be looking at certain diary entries and I would think, "Is this really worth my time to read this out loud?" And I would think, "No, it is not." I would have cut out 75 pages, just because I was tired of standing up.

I'm a visual person - when I write, my input is always visual. I worked in television for several years.

I foresee online gaming changing when there are good audio-visual links connecting the participants, thus approximating play in a face-to-face group.

I'm a visual person, and I love visual extremes and aesthetic discipline.

I was a rapper and a DJ, and if you wanted to be involved in hip-hop, you had to be involved in the sonic, the kinetic and the visual aspects. The visual was graffiti.

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.

For me and my films I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional and I want you to be engaged with not just the scene but with the characters.

If you want a lot of visual humor, the way to do it is have visual people do it.

For some years now, I've been doing a program called "Sinatra Sings Sinatra." It's been going on virtually since the end of '98. Nineteen ninety-eight was the year Frank Sinatra died. ... Now having reached what would have been his 100th year - I decided back in 2013 when we started to put all of this together, I decided what we should do was the first "Sinatra Sings Sinatra" in which we go audio visual.

I haven't had the opportunity to study visual art, but it was always my first love when it came to artistic expression. I started drawing and experimenting with visual art when I was 5.

I think that being a film composer, someone that gets it and actually applies the music, it allows you to open up a spectrum of feeling. You're now allowed to approach the music from an audio visual perspective.

The devices that our kids use are shipped from the factory with every possible audio, visual or vibration alert switched on. Each new app, website, tweet and message adds another layer of intrusion - each intrusion is cynically designed to get a response, and each response creates an appetite for another intrusion.

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.

There is a lot of money to be made from miseducation, from the easy to read easy to learn textbooks, workbooks, teacher manuals, educational games and visual aids. The textbook business is more than a billion-dollar-a-year industry and some of its biggest profits come from 'audio-visual aids' - flash cards, tape cassettes, and filmstrips. No wonder the education industry encourages schools to focus on surface education.

I'm not a visual guy. I'm audio. I'm a musician. I know what I do. I play guitar, and in my category I'm doing O.K.

In a world full of audio visual marvels, may words matter to you and be full of magic.

Images are not only visual. They're also auditory, they involve sensuous impressions, bundles of information that come to us through our senses, and mainly through seeing and hearing: the audio-visual field.

I work with digital audio, which is like sculpting, a form of chiseling down metal or wood. And I take audio and move it back and forth between the analog and digital realms and work with it almost like a plastic art until it takes forms in different shapes. And I use those figurines that come out of that type of work.

But audio is a component of video, so there's always been that anyway, and although we've never expressed a visual side apart from the Grateful Dead movie, I don't find it that remote, you know what I mean? It's a departure of sorts, but it's like a first cousin.

Visual renditions of war not only establish what can be seen, and the audio-track established what can be heard, but the photographs also "train" us in ways of focusing on targets, ways of regarding suffering and loss.

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 and my films, I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional, and I want you to be engaged with not just the scene but with the characters.

Human beings are really attuned to their senses. When you work in film, you are working with the visual and audio senses. An understanding of tactile and other components that go into the creation of those objects are important to making them look real on screen, like a plasma of energy.

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.

I love audio books, and when I paint I'm always listening to a book. I find that my imagination really takes flight in the painting process when I'm listening to audio books.

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.

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 really visual artist, and I love writing treatments for music videos, photo shoots, fashion, and all the visual parts that go along with making an album.

I write on a visual canvas, 'seeing' a scene in my thoughts before translating it into language, so I'm a visual junkie.

I'm so in awe of what visual artists do and I do understand the differences of what visual artists do. I have a small art collection I hope to expand.

I was a painter before I was a writer, so I was always a visual artist. And my writing, to me, was always visual.

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.

Hey, I wasn’t a weirdo. I was in the audio-visual club.

I was a musician who began playing with computers, to see if they could make some tasks simpler. I developed some "tricks" or strategies for working with audio files, and then discovered that the same tricks could be applied to video files, or really, any type of data. Previously I made many different kinds of music. I did some work as a composer of film scores. In that role, my task was to create audio to match and deepen the visual. In my work now, the role is often reversed: I have to create images to match and deepen the audio.

Yes, for me audio-visual performance has its roots in my experience working as an improvising musician and composer.

My personal style at this point in my life is more audio; it's more driven on less visual and more musicality. But because of my upbringing, my fabulous mentors and teachers that I've had throughout my dance journey or career, I also possess a style that is of the past. It was just a matter of me reaching back.

I am a film director, and I work with a visual language, with a visual medium. And I try to make virtue of the use of this visual medium. And I try to make sure what I do speaks the language of cinema.

This amazing breakthrough full-length revolutionary audio uses a powerful new combination of a subliminal hypnotic induction AND beautiful original music (created with a really cool ancient musical instrument) AND brand-new subliminal clearing commands ALL designed to begin to clear your unconscious blocks of anything and everything in the way of your attracting what you really want – and this incredible one-hour audio does it without any effort at all on your part!

Dance fascinates me, and it is perhaps the most enriching audio-visual realm for a musician. Film-making also fascinates me.

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.

Television is a visual medium. You have to create some kind of visual interest. And it's entertainment for your eyes.

Quite honestly, if I were doing work related to a living being or historical being where there was visual or audio recordings available, I would find that extremely difficult because I don't know how you would avoid the process of mimicry. And mimicry, to me at any rate, is a very dull prospect.

At the same time, one of the things I noticed was that the moment there was any kind of audio attached to virtual reality, it really improved the experience, even though the audio didn't feel like a sound engineer or composer had been anywhere near it.

The advice I would give to any photographer - young, old or in-between - is to explore anything visual because this is, after all, how you express your artistry. Look at paintings, movies, drawings, sculptures - look at anything visual and try to integrate that into your visual sense. After that, go out and take pictures and keep on taking pictures!

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 love doing film soundtracks and working with directors on how they want the scene to be portrayed on audio as opposed to visual. I like the collaborative effort of working with people.

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.

If a chemical drug like Viagra is accepted by society and by the world to ignite desire, then what is the problem with my audio-visual drug called cinema which ignites desire? Both are basically doing the same thing!

My fiction has been influenced by the visual arts, though not in obvious ways, it seems to me. I don't offer tremendous amounts of visual information in my work.