Top 549 Viewer Quotes & Sayings - Page 5

A shudder runs through the viewer of old photographs. For they make visible not the knowledge of the original but the spatial configuration of a moment; what appears in the photograph is not the person but the sum of what can be subtracted from him or her.

What is of value is that a particular photographer sees the subject differently than I do. A good picture must be a completely individual expression which intrigues the viewer and forces him to think.

Bring the viewer to your side, include him in your thought. He is not a bystander. You have the power to increase his perceptions and conceptions.

My ideal viewer is an 11-year-old girl who, like me, was once reading a book by Jean Plaidy and might be in the position of deciding what to make of the world and what to do with her life.

SRK is a gem of a person. He told me that he is a keen viewer of 'Comedy Nights with Kapil' and his family records those episodes which he misses during shooting schedules.

The canvas you are working on modifies the previous ones in an unending, baffling chain which never seems to finish. What sympathy is demanded of the viewer? He is asked to 'see' the future links.

I focus on the elements of a movie that are meant to invisibly affect me as a viewer. The edges. As an author, I'm aware of how the subconscious things can pluck at a reader's emotions, and I love it when filmmakers do the same.

I don't want the viewer to be able to peel away the layers of my painting like the layers of an onion and find that all the blues are on the same level.

If there's flat tires or bad food or rough lodging or zany people that we meet, we throw them up all on screen so that the viewer doesn't feel like they're watching a kind of sanitized, produced effort.

I'm thrilled to continue the tradition of the spectacular, cinematic, horrifying, exciting and emotional storytelling of 'The Walking Dead.' I'm a huge fan of the comics, and started with the show on the other side of the set, as an avid viewer.

When you're representing a sport, people are more likely to judge and comment as, unlike other fields, sport permits every viewer to participate to a certain level.

It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.

A piece of art - this goes for a painting or a sculpture or a book or whatever - really shouldn't have to do with the set of expectations that the viewer or the audience or the reader brings to that work. It should just have to do with how they interpret it and whether they like it or not.

At its best, film should be like a ski jump. It should give the viewer the option of taking flight, while the act of jumping is left up to him.

Right right, because up to that point I had not been a viewer, and I didn't know alot about the show, it was all new to me and the cast members were wonderful!

I can tell you what I personally use a camera for. Basically, it is to record a moment. A moment that is vital to give the viewer a sensation of liveliness, sadness, joy and so on.

Definitely. Cate Blanchett or Meryl Streep, Julianne Moore - women that have no boundaries, no borders. They can do anything, They can be any character and you accept it and go with it as a viewer, and as an audience member. That's the kind of career that I'm looking for.

It may be fine for an artist to be indifferent to the reaction of the viewer to a work of art. A vigorous debate on issues is also beneficial. But the dark vision of a world without truth cannot be our future.

Please, don't use a cornice as a doorstop. At least put it somewhere where people will have to look up at it. Architectural details really ought to be displayed in the same relation to the viewer as they were originally intended.

It is easy to make a picture of someone and call it a portrait. The difficulty lies in making a picture that makes the viewer care about a stranger.

What's really important is to simplify. The work of most photographers would be improved immensely if they could do one thing: get rid of the extraneous. If you strive for simplicity, you are more likely to reach the viewer.

But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.

What counts isn't being able to do a thing, it's seeing what it is. Seeing is the decisive act, and ultimately it places the maker and the viewer on the same level.

Basically, what you really want to do is try to engage the viewer's body relation to his thinking and walking and looking, without being overly heavy-handed about it.

I'm interested in the space between the viewer and the surface of the painting - the forms and the way they work in their surroundings. I'm interested in how they react to a room.

I think the astute viewer can recognise I am the proper bloke, because I have a toolbox and can put things back together, and I can quote W. B. Yeats and Alfred Lord Tennyson.

I'm not like paparazzi. I never force myself on anyone. I always ask, and some places offer money. And so I try and get these photos to give you, the viewer, a real look at what I was seeing.

You need to know who your ideal viewer is, and mine is a 14-year-old screaming female. And I'm thrilled about that. I am thrilled.

Ratings have changed, viewer habits have changed and the options for the audience have grown enormously, but I don't think how you tell a story is fundamentally different.

I think why I was attracted to making something with Vice is that level of intimacy that you get as the viewer, getting to see some of that production element where we don't exactly know what we're doing, where we're going, or even if it's a good idea.

Film fixes a precise visual image in the viewer's head. In fiction, you just hope you're precise enough to convey the intended effect.

When it comes to viewer's choice, each film counts. Moreover, it's important to enjoy the work that I do. Thus, it is important that I am excited about the films I sign.

I didn't watch much television growing up, and before I did 'Boston Legal,' I had no understanding of what it was like for a viewer to look forward to finding out what was going to happen the next week.

I became interested in film as a viewer when I was a teenager. I would spend entire afternoons in an arthouse theater in downtown Santiago. I didn't really expect to be a filmmaker back then. But it was clearly an interest.

That a viewer does not see what the artist intended does not make the composition a failure... In reality all artists speak first to themselves and then to an audience.

Even the finest actors will have great difficulty showing somebody's loneliness. To put an actor on a chair and ask him to do nothing and yet tell the viewer everything about the character, it's a difficult task.

Postmodernism shifts the basis of the work of art from the object to the transaction between the spectator and the object and further deconstructs this by negating the presence of a representative objective viewer.

When I am preparing my 'lookalike' photographs, I think about the character of the real people, because, if the photographs are going to be plausible, you have to convince the viewer that they could have happened.

Singing shows are fun. Every viewer has their own opinion. We all know whether we think a voice sounds good or not. There's a play-along element. All these shows can be supported.

Television has a real problem. They have no page two. Consequently every big story gets the same play and comes across to the viewer as a really big, scary one.

Remember, while the work can sometimes appear to be simple to a viewer, the ability to perform expertly, consistently, precisely, over and over again, under pressure and on demand is what's needed.

I don't want ever to appear in a film that would embarrass a viewer. A man can take his wife, mother, and his daughter to one of my movies and never be ashamed or embarrassed for going.

The job of the artist is to make a gesture and really show people what their potential is. It's not about the object, and it's not about the image; it's about the viewer. That's where the art happens.

A photographic close-up is perhaps the purest form of portraiture, creating a confrontation between the viewer and the subject that daily interaction makes impossible, or at least impolite.

Every part of the photographic image carries some information that contributes to its total statement; the viewer's responsibility is to see, in the most literal way, everything that is there and respond to it.

I think music, like writing, can be a mirror. Can turn back onto the listener, the viewer, the reader, an experience that they know but they don't know.

The event is placed at such a distance, and contained, that these images move beyond the context in which they were made, the geographic setting, and so on, and engage the viewer in a one-to-one relationship solely through their physical presence.

I focus on the elements of a movie that are meant to invisibly affect me as a viewer. The edges. As an author, Im aware of how the subconscious things can pluck at a readers emotions, and I love it when filmmakers do the same.

I think if the movie has resonance and stimulates the viewer to talk about it, you can have as large an audience as you want. The most important thing for me is that the movie exists. And that's success enough already.

[W]e have ceased to see the life in which we live. It is my intent to cause the viewer to revisit the gifts we are surrounded by and see them as if for the first time.

I think when your image becomes so big that it's hard for a viewer to see a character, then I think you're in danger as an actor of being unable to perform what you should be doing.

There must be an open space in the paintings - an entry space for the viewer, or even for me. Just white space where you can get into it.

My creative team filters the scripts before they reach me and a few others. We evaluate them, ponder over the budget, and think of various possibilities to get the viewer excited.

One of the reasons why you like to do your own drawings is, your style changes over time. And there's something about that that keeps it fresh to the viewer.

A show like Knots or any other show that can be called a soap opera does terribly in syndication because if you're a viewer and you miss a week you don't know what's going on.

I never want to feel more than the viewers. I'm not trying to be an automaton. It's like when you see people laughing on camera, and you don't find it funny as a viewer - it's an offputting experience.

You finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.

I want the pictures to be working in both directions. I accept that they speak about me, and yet at the same time, I want and expect them to function in terms of the viewer and their experience.

...in our time art is encrusted with a noisy, opaque, logorrhea of theory that prevents a work from coming into direct, media free, non-interpreted contact with its viewer (its reader, its listener)

A woman doing comedy doesn't offend me, but sets me back a bit. I, as a viewer, have trouble with it. I think of her as a producing machine that brings babies in the world.