Most screenplays, most motion pictures, owe much more to the screenplay. Ingmar Bergman has such an economy of language, so little language in his piece, it is so visual, his moods are introduced and buttressed by camera rather than by word or character. But again, that's unique.
AI's ability to recognize visual categories and images is now pretty close to what human beings can manage, and probably better than a lot of people's, actually. AI can have more knowledge of detailed categories, like animals and so on.
I'm doing more deep listening, which is part of the role or job of the songwriter. I think with a lot of songwriting, songs sing themselves to you tonally and also lyrically. And it's not necessarily your own visual memories that are writing the song. It's like there are words that you can catch out there and you have to be able to see and hear them.
Most visual artists, just like most writers, tend to be solitary. While they're doing the art, that is. They may have a crazy orgy that morning, but at a certain point they kick everybody out, and say: "Come, go home. Yeah, I had a great time too." And then you're alone again, and then you're freshly inspired and energized.
Art in the United States is a kind of visual entertainment focusing on expected narratives.
I like visual imagery in my head.
I just see in pop culture, music, visual art, books, etc., a real hunger for the new and different, and I think that's amazing. Satisfying this hunger is part of the responsibility of a creative person.
I'm very interested in the materiality of language. I wonder if, perhaps, this comes from my background in the visual arts. I was a potter for a number of years and earned a BFA in art before going to graduate school for creative writing.
You set up the look, the visual effects and the sets, and that's awesome, but I enjoy the casting most of all. That's where you really get to define the show.
The visual quality of the cameras now is such that you can shoot with available light, and if people are willing to mount a microphone on the camera and maybe even on the subject, then you're good to go.
There are some superficial things that connect me to the stream. There's instrumentation, there's timbre, use of electronics, the way that samples are used, the way the electric guitar is used. I'm thinking of things that are particular to this era. But I don't always feel particularly close to the music of my peers. I often feel that I have more in common with writers and visual artists. I try to connect to people in an emotional kind of way.
In addition to writing in received forms, I have also had fun making up forms - Möbius strips and visual poems, particularly.
I have no idea, actually, where I fit in, in terms of poetry camps. At AWP conferences, I have been on panels about humor, collaboration, visual poetry, confessional poetry, gender, and the body, as well as tributes to Edward Field and Albert Goldbarth. I felt at home on all of them - most poets straddle more than one school.
I grew up in the dance school my mother owned, and I see everything in body shapes, everything visual.
I really like the interplay between thinking of text as ephemeral and thinking of it as a concrete, physical thing. With almost anything that I write, I'll stay completely immersed in the electronic text of it for a period of time and in another period, I'll stay immersed in it as a physical thing that can cut your skin. So with the apocalypses, I had them taped all over the wall and they had codes on them. Sometimes I would color code them in terms of thematic elements, sometimes in terms of voice, sometimes visual forms or images.
People judge you because of your weight and your food issues. It's very visual.
The photograph is to a great degree evidence of the conversation I had with the person. It's a part of my visual diary.
Which even though we do have a very visual aesthetic and identity, we love it when people make their own videos to the music.
Creating music, visual art, producing music and film are always at the forefront of my life. Everything great that has come into my life has been through channeling and manifestation of a vision or dream. Pure passion equals love.
I come from a little bit of a theatrical background. I started that way. I don't have a tremendous body of work or anything, but I went to drama school. And so, to get to do a piece where the characters get to talk a lot, and that isn't just about the spectacle or the set piece, or is simply visual or movement based. It was really wonderful for me, and juicy and exciting.
But, working with directors whose history is in performance, I feel like there's a different kind of focus, as opposed to directors who are more prone to being really technically proficient or visual. I feel like there are two schools of both, and a director needs to have both.
I think songs and visuals are so evocative of each other.
Well, visual language is another boring discussion about the nature of film.
Instagram is a media company. I think we're about visual media.
I am primarily a writer of books, and I enjoy that. But I come to realize that a lot of people prefer a visual medium.
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