Top 1200 Audio Visual Quotes & Sayings - Page 20

The goal with a show is to push forward the passion in a visual and sonic way. It all comes out in a trance-like way, fast and pulsating. Then people can go home and think about the lyrics later.

I love to perform not only music, but to make performances extremely visual, and create almost a magical fantasy. It's really an uplifting style of art that combines visuals and music in very dreamlike ways.

Music needs a visual element to make it tangible. So, naturally, there's gonna be a synergy between high-level art direction and high-level albums.

By the end of this decade, computers will disappear as distinct physical objects, with displays built in our eyeglasses, and electronics woven in our clothing, providing full-immersion visual virtual reality.

What to paint was a problem for the war artist... the old heroics, the death and glory stuff, were gone forever... the impressionistic technique I had developed was now ineffective, for visual impressions were not enough.

I would have been a visual artist. When I was in high school, that was one of the things... I had to make a decision what I was going to go to college for, and at the time, I also painted and sculpted. I got more attention for my performing, so I thought that was a better idea.

I'm a relentless sketcher. It goes back to how you process the world around you - the whole left-brain, right-brain thing. Some people are data-driven. I've always been more visual.

When you're looking that far out, you're giving people their place in the universe, it touches people. Science is often visual, so it doesn't need translation. It's like poetry, it touches you.

As someone that really likes painting and visual art but also likes video and movies and also music and recording and style and clothes, it was hard to pick what to do with my life.

I know some children's writers write for specific children, or for the children they once were, but I never have. I just thought children might like my sort of visual humour.

I understand the visual media very well, as I used to write comic books for Walt Disney, and I've written a graphic novel. How you carry a story in pictures is different than how you do it in text.

The way I sort of approach my work is that the historical and socioeconomic and cultural worlds that the music is exploring dictate the visual experience and the way that we approach it specifically on film.

We don't usually start out with a plot that we can pitch in two lines. We spend a year brainstorming and discussing ideas that are sometimes of a visual nature, sometimes just about characters and then we try to structure the story.

When I see somebody sun-drenched in a shot with their espadrilles and a cup of coffee, I'm like, "Your life is amazing. It's so perfect." I get drawn into that very easily so it totally worked, because the visual style sucks you in. It makes you want that.

Our music is always, as you know, very spacey- computer graphics, music, images, lyrics, and visual art we make ourselves, or that we make with artists. And it's all synchronized.

Writing is largely about time, while visual art is largely about space.

With movies, you are always in search is a good story, one that everyone will relate to and love. I love finding those stories and creating a visual world to tell the story.

A visual always brings a first impression. But if there's going to be a first impression, I might as well use it to control the story. So why not do something like throw a mask on?

I see my work as having a relationship to the visual world, not just some emotive residue of my feelings. It relates to something that exists, or might exist, rather than a transcendent mental state or something like that.

A community united by the ideals of compassion and creativity has incredible power. Art of all kinds---music, literature, traditional arts, visual arts---can lift a community.

I was always a visual artist my whole life, and I came to music really late - when I was 21 or 22 was the first time I ever touched a musical instrument. For me, it was always this fun side hobby.

I am very much aware of the visual side of things. I do a lot of photography. I often take Polaroids of things that strike me as visually interesting, just to remember them and perhaps use later.

When you're talking about Tim Burton, you're talking about a guy that has such a visual sense, an aesthetic, a storytelling style. It's like he's got his own genre.

For me art is a continuous discovery into reality, an exploration of visual data which has been going on for centuries, each artist contributing to the next generation's advancement. I wanted to go a step further and extend the boundaries.

Words aren't very good at describing complicated, strange visual things. You can try, and the reader will have some sort of image in their mind, but words aren't good at that.

Modernism has a reputation for being a forbidding phenomenon: its visual arts disconcertingly non-representational, its literary efforts devoid of the consolations of plot and character - even its films, it's argued, fall well short of that true desideratum: entertainment.

I'm a Banksy fan. I'm also a fan of Chris Hobe, Mister Totem, Drew Wootten, Mad Clout, Hense and Sever, in visual and street art. And Jonathan Mannion and Shane Nash in photography.

No one questions the fact that verbal language has to be learned, but the commonplaceness of visual experience betrays art; people tend to assume that, because they can see, they can see art.

In the visual arts, particularly painting, I distrust all those abstractions, those artificial constructions. I have a very simple way of judging them: if I can do them, they are not art.

As I had collaborated with visual artists before whether on installations, on performance pieces, in the context of theatre works and as I had taught for a time in art colleges the idea of writing music in response to painting was not alien.

Ever since I can remember, I drew, and visual arts have been my main way to express myself. I like dancing, although I've never done that very seriously. It's something I'd like to explore more.

The black community has always complained about abuse from cops. It's nothing new. But now, more people are seeing visual examples of what they've been complaining about. That's one thing that has changed over time.

We are entering into an age in which visual language is defined by a dialogue between photographers and audiences. This means not just the democratic posting of images but the democratic interpretation of images.

Every photograph is the result of a physical imprint transferred by light reflections onto a sensitive surface. The photograph is thus a type of icon, or visual likeness, which bears an indexical relationship to its object.

A visual understanding of great composition and how to use a camera and expensive lenses can be learned, but drive and a real hunger for making photos and telling stories... I don't think that part can be learned. You either have that inside, or you don't.

Television is much more of a producer's writer's medium, so a lot of the time, when you're directing a television show, they have a color palette on set or a visual style and dynamic that's already been predetermined, and you just kind of have to follow the rules.

I wanted wherever possible to lean into the comic form and do things in the story telling that could only be done in comics and which pay homage to the many strands of comic and visual storytelling tradition.

[DMT] raises all the questions in a hurry. It's so intense and so oriented toward the other and the visual and the hallucinogenic that it isn't really like a drug. It's more like an event that you ran into. You just came around a corner and there was the unspeakable.

We are using both visual biomarkers, MRI and a panel of blood and tissue testing including work on telomere length with Spectracell and Life Length and epigenetic testing.

I wish I could be a better writer, but writing is so difficult. I get seduced by visual aesthetics. Because I just like making beautiful pictures, sometimes I wander away from making a clear statement.

Visual effects have always been a part of this art form. And CG is simply a tool on the filmmaker's tool belt to tell a story, but when the end result is bad - maybe it's not the tool's fault.

We used the camera only as a means of expression and as a visual medium that offers possibilities found in no other artistic technique, possibilities that the eye cannot catch in their totality. We tried to establish a characteristic vision of photography.

I think too many comic book covers are way too busy, crammed with far too much information, both visual and verbal, that just becomes a dull noise.

It sometimes happens that you just know... You have a feeling that things are coinciding, and that they operate and work on a number of levels - obviously visual aesthetics, but also content and narrative in terms of the bigger picture. When document and metaphor come together.

You get to bring your own sound system when you play an arena, all the lights and visual stuff, which I think is really cool. There's something about those old arenas, where it feels larger than life.

In animation, what's wonderful is that when you start to work with multiple nationalities, the common language becomes a visual language rather than a spoken language, which blends beautifully with the art form.

I draw on a lot of cinematic influences like Ingmar Bergman and Wim Wenders, artists who let a story take its time. Comics are a visual medium, and visuals should be allowed to tell some of that story.

Minimalism is not a style, it is an attitude, a way of being. It’s a fundamental reaction against noise, visual noise, disorder, vulgarity. Minimalism is the pursuit of the essence of things, not the appearance.

It is difficult to talk about fashion in the abstract, without a human body before my eyes, without drawings, without a choice of fabric - without a practical or visual reality.

I've always liked puzzles, since I was a kid. I like party games, silly games. I loved chess. I enjoy jigsaw puzzles, but I'm not particularly visual.

I think we will always have the impulse towards visual poetry with us, and I wouldn't agree with Bly that it's a bad thing. It depends on the ability of the individual poet to do it well, and to make a shape which is interesting enough to hold your attention.

'Phantom Menace' was a huge project. It was the biggest visual effects production ever done at that point, and it was a little scary how big it was and how many unknown technologies had to be developed to do that work.

Generation Alpha has very different expectations for the entire world. Everything that's going to happen in their lives needs to be visual, on demand, adaptive, in demand, and we have to find a way to embed that into our toy experiences.

Man is used to the fact that there are languages which he does not at first understand and which must be learned, but because art is primarily visual he expects that he should get the message immediately and is apt to be affronted if he doesn't.

Sometimes the guys who run the visual effects shop will bury it in and not tell us. We'll be in the middle of the edit, watching it for the fifth or sixth time, and we'll be like, "What's that big W on that building? I don't think we can do that. We haven't asked DC." And then, they take it out.

I spent 10 or 15 years doing visual effects and, if I learned anything from that time, it's that you do the best work when you let things go wrong and embrace the happy accidents. Then suddenly it feels fresh and you're somewhere new.

Music and visual performance have to influence each other. Designers and musicians have to be the nexus of all things pop culture, so I think about designers when I'm making music.

Two men with a camera, thoughtfully observing the visual cacophony of one major thoroughfare and the complicated interplay of its history, its present, and the certainty of change, have laid the groundwork for a dialogue and a vision that reaches farther than human eyes can see.

I've never really seen too much difference between writing or making visual art or designing furniture or clothing. It's still my brain - I'm just using different parts of it for different things.

I have a very strong visual memory of the first time I made him laugh. That was remarkable. I was like, "Oh, God, I just made Jack Benny laugh."