Top 203 Visuals Quotes & Sayings - Page 3

For me, when I started writing, it was mostly poetry. And poetry is very visual. I feel the same way about the way that I approach direction. There might be a theme within the visuals that you're choosing that people don't consciously pick up on, but that they feel.

For so many years, I was watching my tee shots slide hard to the right. I used to think I was hitting a draw at times, and the ball was still curving to the right! I still prefer to play a little fade, but I've had to recalibrate my visuals.

MAC allowed me to have complete freedom on the collaborations—from the shades, the look-and-feel, to the campaign visuals. I have to admit that the visual aspect of the collection excites me most. For designers, we care about the photographs much more than a Ferrari.

There is a director who should make 'Silver Surfer' - he is mentally committed to it. He's doing another movie now. What's most important to me about this guy, first, is that he's incredible with visuals. But he's also a spiritual guy, a Zen Buddhist. ... Galactus is a force of nature, not a being. That's all I'm saying.

When you're in a club or a theater or even an arena, yeah, you want visuals, you want a good light show. But Slayer has always been about the sound. We have to sound good. It has to be tight.

Puppets are pure form then ideas for performance come out of that. It's always the form and the visuals and that's why I like to make puppets in a gallery or museum. They're not often in those contexts.

As much as I love creating entertaining visuals, I love toying with the pace of a movie and trying to perfect that. It's imperative to the impact: faster cuts, cuts at the right moments that meld with the tenor of a scene. Creating and maintaining that feeling.

I was just blown away by everything my dad was doing, every play. It was amazing to be able to go as a young person to the theater and see these visuals and how creative it could be. More than anything it was realizing you could do that as a life path.

Each film has its processes. It doesn't mean that all animated films have to be like "Boy and the World," but creators have to have total freedom. There are films that are born with the purpose to sell. They are still admirable films with great artists and great visuals, but we wanted to use a more radical approach to create art. That's what we tried to do.

I wrote a 20-page document, before I was ever hired, on exactly how the visuals of 'Guardians of the Galaxy' would be approached, how we'd look at creating a new type of space epic. That's exactly what the movie is today - absolutely everybody has adhered to that original document.

People like Little Mix... they've got a big lot of choreography that they need to do so it's difficult to sing and dance at the same time. I think if they've got to do a big performance with loads of visuals behind, they need to possibly mime at some point.

Even if I don't think in visuals about the music while I'm doing it, after the music is finished, it could be great to incorporate that in the live show or doing my own music videos.

My favorite films, I would put my answering machine up to the television set and hit record. I'd tape my favorite movies and then I could go back and listen to them again. I only had the soundtrack, I didn't have the visuals. But I think it made me really pay attention to the soundtracks.

It always sounds kind of trivial, but when I was a kid I was always so impressed by how serious the comic books were. I always liked how they were half way between literature and the cinema. I liked the visuals and I liked the simplicity of a certain type of moral dilemma.

I do this sort of thing where, even for my own shows, I like to supply my own fingerprint of creativity. Not just ideas, technical things: offering model data, creating visuals for my stage show myself, babysitting renders, learning that technology as I go. That's what makes me feel like an artist.

It's about the characters, it's about the film, it's about the process of making stunning visuals and a huge, epic movie. It doesn't matter if my head was covered in a black plastic bag and I was bouncing around in a space hopper: That's the villain of Chris Nolan's 'Batman!'

I was pretty shocked [having concert in the Madison Square Garden]. It could have gone either way. But I think it's the right time. Nobody does what we do with taking the visuals and making it a complete rock 'n' roll show with the really good songs. Nobody's done that in a long time.

In the same way that musicians inspire me, artists and photographers like David LaChapelle influence me with their visuals. A photographer like LaChapelle creates an entirely new and unique visual for their work, and that's what I'd like to do with the Charli XCX world as well.

I think comics is a really good way to talk about skepticism and atheism and things like that... it was easy to tell those stories and, I think, helpful to some people to tell them in comic form. Using visuals makes it easier to break stuff down and makes it somewhat easier to understand.

I really think music and movement - dance, you know - and literature inform my visuals. I think film is also based in dance. The relationship between me, the camera and the actor is always a dance.

I always look at that stuff as something that's not a separate entity from the music but a visual representation of the music. I feel like your external appearance should be in harmony with your internal appearance. That's mainly our approach to the visuals.

I love hand-drawn animation, but I have to say I have fallen in love with CG animation. What you can do in terms of visuals is pretty stunning, and I think if I did go back and do a hand-drawn animation, I would want to make sure that, from a stylistic standpoint, it would be as beautiful as 'Hunchback of Notre Dame' at least!

I always liked the visuals to be choice and at the same time minimalist. And, I love black boxes. After all, that's what theatre is, it's an empty space, and it's both limited and unlimited because the space is the space, but what you can do with people's imaginations is really endless.

Usually when I'm making a movie, what I have in mind first, for the visuals, is how we can stage the scenes to bring them more to life in the most interesting way, and then how we can make a world for the story that the audience hasn't quite been in before.

Today the challenge is not visuals, but to be able to tell a riveting emotional story, something that can reach deep down inside the audience's heart and twist it like a toy to make them laugh, cry or jump out of their seats to root for the hero.

It's just weird because like when I was writing Cry Baby I like...the only thing that I was thinking about, when writing it, was the concepts and the visuals, and the way that it sounded kind of happened naturally.

I got a job as the Visuals Art's Teacher at my Alma Mata, St. Mary's College. Then my interests shifted to animation. Ironically, it was one of my students who sparked this energy in me by introducing me to an animation program called FLASH. So I dabbled and played around with it.

I was born inside the movie of my life. The visuals were before me, the audio surrounded me, the plot unfolded inevitably but not necessarily. I don't remember how I got into the movie, but it continues to entertain me.

It's very important for an audience to know where they are and why they are there in a musical. It allows them to relax and follow this form that operates in shorthand. So the economy of the form, in many respects, is why a lot of screenwriting is so sleek. Because the visuals are where the explosions happen.

I really try to keep it hip-hop oriented. For me, that's high energy - people being able to dance, being able to vibe out - but with an ethereal factor. When I perform, I'll have a guy doing live visuals for me or I'll have a guitarist playing a lot of solo, really heavy reverbed vibes and stuff like that.

I'm a very visually motivated person. Music is always going to be the thing I'm most motivated by, but music and visuals go hand in hand.

I'm up for a massive, bombastic tour with hydraulics, robots, lasers, 15 costume changes, projecting on a power station, big impact, big visuals. I'd love to realize the theatricality of the whole thing. To be overwhelming, to surprise you, maybe to play in hidden spaces.

There's a level where the themes of a film are very relevant to me and also the idea of finding out how relevant one genre is to another. I think that westerns and samurai films and superhero films have a lot in common. It's just that the scale of the visuals in tentpole films can sometimes overwhelm the drama.

I wanted to express myself using visuals and also celebrate the beauty of black women, travel, and have amazing opportunities. I also wanted to be a living example of inspiration for other women and girls.

No matter how many great performances or exciting visuals we put together for the movie, we found that it was all somewhat two dimensional until we added the emotional heart of Howard Shore's music. Then, and only then, did the film come to life.

Everybody is trying to make something real, something with a core of substance, and of course, an exciting action movie with a lot of terrific stuff and fantastic visuals and everything, but at the core of it, it's a movie with substance and something that is going to make people think.

When I started producing, it was George Abbott directing and he would let me do the scenery. He just wanted to know where the doors were - the entrances, the exits; the tables, the props - and then I would hire the designer. I took charge of the visuals - scenery and costumes and so on. And, the shows looked wonderful.

I'm always trying to find something unique or a project that I can do something unique in. When the director has a vision for a piece that I've never heard before, and they can back that up with visuals and they talk a good game, I get really interested in the world that they're trying to create.

That's just how I see things on a base level: there's so much going on. Or at least I like to have that feeling. It's part of being interested in notions of reality apart from storytelling. I don't know if it has something to do with having an art school education, which makes you aware of the way visuals speak, or makes you trust them more.

Some things can be perfectly expressed by sound alone and images would only be disturbing. Other times, sound would be possible, but visuals are much stronger and closer to what I want to express and then again, they sometimes overlap perfectly.

I love Lady Gaga, Rihanna - all the pop girls like Katy Perry. I think Miley Cyrus is very talented, too. Apart from the visuals, which you may like or not like, but her music is quite good, actually. 'Wrecking Ball' is quite a good song, and she sang it really nicely.

I often wonder when I make a film - I'm thinking of making a film of the Buddha - and I often wonder: If Buddha had all the elements that are given to a director - if he had music, if he had visuals, if he had a video camera - would we get Buddhism better?

I have enough friends who are gamers. I actually enjoy watching them play because of the visuals and the storytelling of the games. I just love being able to go on an adventure and games are just so sophisticated now that you can just get lost in a world for 20 hours and just be someone else in a very visceral, emotional way. And that's just fascinating.

When you make a 3-D movie you actually have to plan the way the visuals look because there's a parallax issue, and there's an issue of editing; you can't edit very quickly in 3-D because the eye won't adjust fast enough for it.

'Bahubali' is not about big budgets, big visuals, or massive marketing. If a hero, producer, and director in Bollywood can have that kind of trust, something even bigger than 'Bahubali' is possible.

The poetry and transgression that was so much of surrealism's anarchic force has been recruited into mainstream culture. It has been made commonplace by television and magazine merchandising, by computer games and Internet visuals, by film and MTV, by the fashion shoot.

Just the textures of things are really important to me as I'm writing; I think atmospherics and visuals can have such emotional impact if you can harness the thematic thread between how scenes look and how your characters feel. I like to tug on that thread.

Even if you close your eyes, you'll still hear Donald Trump sniffing. Linguists might call [these visuals] paralinguistics, every form of information including facial gestures and facial features. Obviously these things get scrutinized in tremendous detail, so that a cough can be of outsized importance. [But] that's all part of the package.

If people get inspired by 'Baahubali' as a film, and they realize they can make a big film or a historical film which has good drama and good visuals, if they realize there are good stories to tell here, then it is good.

I was brought up in a way that was based purely on the senses. Everything in my upbringing was a reaction to growing up on an organic farm or to the emotions of animal cruelty, as well as the visuals of my mum's and my father's art - he was also an art collector.

The best simulator for spacewalking is underwater - it allows full visuals and body movement in 3D. Virtual reality is good, too, and has some advantages, like full Station simulation, not just part. Like all simulators, they have parts that are wrong and misleading: an important thing to remember when preparing for reality.

I knew I had to write a good screenplay to be taken seriously, and I knew I needed to present Mississippi on visuals instead of just saying, 'Hey I wanted to film it in Mississippi.' It would seem like it was a hometown boy just wanting to be home.

YouTube's a funny place because so many creators fall into their aesthetics out of necessity and the visuals are driven out of an urge to create. You get a lot of interesting examples of interesting design choices that have roots in practicality as well as an artistic sentiment.

Think about how you will start and where you will go. Get the head with logic and the heart with visuals or stories. And think about your core customer and all the other stakeholders as well.

I have been fully involved in designing my stage shows; it's important to me to do something really unique and almost off-the-wall to bring the music and the visuals together. I love design and actually went to school for a bit for graphic design, so it isn't so much 'pressure' for me; it's a way to be creative, and I really enjoy it.

When you make a 3-D movie you actually have to plan the way the visuals look because there's a parallax issue, and there's an issue of editing, you can't edit very quickly in 3-D because the eye won't adjust fast enough for it.

The costumes, the light rigs and the effects are seamlessly joined. I'm kind of bummed that I don't get the experience that you get with just watching it cold. By the time we'd seen all the visuals put together, I'd sort of become used to that world. It's still pretty impressive.

Telling stories with visuals is an ancient art. We've been drawing pictures on cave walls for centuries. It's like what they say about the perfect picture book. The art and the text stand alone, but together, they create something even better. Kids who need to can grab onto those graphic elements and find their way into the story.

I love coming up with the stories and being creative and working with creative people and coming up with visuals and creating characters.

I feel like what I'm bringing to the table that's different is like not just consistency in the music but consistency in the creativity, consistency in the visuals, in the fashion, participation with the fans and things that I give them and merch and stuff like that. And I'm very active with them.