Visuals Quotes - Page 28

• Boxing is my real passion. I can go to ballet, theatre, movies, or other sporting events... and nothing is like the fights to me. I'm excited by the visual beauty of it. A boxer can look so spectacular by doing a good job.

  LeRoy Neiman

  Jobs, Real, Passion

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• By the visual pattern, but mostly I'm guided entirely by my ear, what I hear.

  Leo Ornstein

  Ears, Patterns

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• When I'm creating characters, I definitely think of theme songs. Writing for me is very visual, so I sometimes think of it in terms of a movie with a soundtrack, and try to transfer that to words.

  Marisha Pessl

  Song, Writing, Character

  "Random Rules: Marisha Pessl" by Andy Battaglia, www.avclub.com. November 14, 2006.

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• Today the major reason for our interest in Flatland is that for the first time we can achieve some of the dreams of our ancestors a century ago and obtain direct visual experience of phenomena in a dimension higher than our own.

  Thomas Banchoff

  Dream, Ontology, Today

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• 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.

  James Laughlin

  Thinking, Interesting, Attention

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• What I love about the filmmakers that I mentioned [Danny Boyle,Leo Carax], is that it's visual but it's also, you see that the characters are the most important thing. The actors are the most important thing.

  Fredrik Bond

  Character, Important, Actors

  Source: collider.com

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• 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.

  Afrojack

  Wall, School, Unique

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• Intuition was not just visual but also auditory and kinesthetic. Those who watched Feynman in moments of intense concentration came away with a strong, even disturbing sense of the physicality of the process, as though his brain did not stop with the grey matter but extended through every muscle in his body.

  James Gleick

  Strong, Grey Matter, Brain

  James Gleick (2011). “Genius: The Life and Science of Richard Feynman”, p.381, Open Road Media

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• Painting for process is the visual equivalent of journal writing, done not for the sake of being seen or published, but purely for the telling itself.

  Michele Cassou

  Writing, Done, Sake

  Michele Cassou, Stewart Cubley (1996). “Life, Paint and Passion: Reclaiming the Magic of Spontaneous”, p.28, Penguin

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• [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.

  Terence McKenna

  Dmt, Drug, Events

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• The more strikingly visual your presentation is, the more people will remember it. And more importantly, they will remember you.

  Paul Arden

  Remember You, Remembers You, People

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• The psychedelic species of visual beauty is something we don't see in our furniture styles and our architecture. It seems to be coming in, literally, from another dimension, and yet it is undeniably moving. It's beautiful.

  Terence McKenna

  Beautiful, Moving, Style

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• Ayahuasca is driven by sound, by song, by whistling. And its ability to transform sound, including vocal sound, into the visual spectrum indicates that some kind of information processing membrane or boundary is being overcome by the pharmacology of this stuff. And things normally experienced as acoustically experienced becomes visibly beheld, and it's quite spectacular.

  Terence McKenna

  Song, Information Processing, Ayahuasca

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• Art is good, bad, boring, ugly, useful to us or not. It does or doesn't disturb optical monotony, and succeeds or fails in surmounting sterility of style or visual stereotype; it creates new beauty or it doesn't.

  Jerry Saltz

  Art, Style, Doe

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• A modeled form is less striking than one which is not. Modeling prevents shock and limits movement to the visual depth. Without modeling or chiaroscuro depth is limitless: movement can stretch to infinity.

  Joan Miro

  Depth, Movement, Limits

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• I started connecting things to my body during my childhood. I approached the computer as a mediating element, as a form of visual art.

  Steve Mann

  Art, Childhood, Elements

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• The visual arts must communicate to the human spirit, forcing individuals to reflect on themselves and their existence beyond their own self-interest.

  Dean Mitchell

  Art, Self, Spirit

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• The really great visual experience today is to fly over a huge city and look down into the night. It's like a tremendous jubilant Christmas tree. You just feel life is worth living when you come down you may have some doubts.

  Gyorgy Kepes

  Night, Cities, Tree

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• Visual tonics such as 'timed creativity' need to be introduced to refresh and refurbish the muse.

  Robert Genn

  Creativity, Needs, Muse

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• What sets you apart from the rest of humanity is your ability to give visual form to an idea - the skill to transform it into something more than merely the insight or perception alone.

  Richard Schmid

  Skills, Ideas, Giving

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• It's always a challenge bringing a great story classic to the screen. Giving visual form to the characters and places that have only existed in the imagination. But it's the kind of challenge we enjoy.

  Walt Disney

  Character, Giving, Imagination

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• . . . you [film critics] always overstress the value of images. You judge films in the first place by their visual impact instead of looking for content. This is a great disservice to the cinema. It is like judging a novel only by the quality of its prose. I was guilty of the same sin when I first started writing for the cinema. . . . Now I feel that only the literary mind can help the movies out of that cul de sac into which they have been driven by mere technicians and artificers.

  Orson Welles

  Writing, Film Critics, Impact

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• There are so many films now where you know the story is a supporting role to the visual effects.

  Ricky Gervais

  Roles, Stories, Film

  "Night At The Museum - Ricky Gervais interview". Interview with Rob Carnevale, www.indielondon.co.uk.

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• I was thinking about sort of the similarities between "art movies" and lowbrow movies like kitschy sexploitation films. I think they share certain qualities, whether they're hyper-stylized or overly emotive or just very visual.

  John Waters

  Art, Thinking, Quality

  Source: www.interviewmagazine.com

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• Some directors, like Stevens [George Stevens], shoot full circle, 360 degrees, and that's what's right for them. I generally shoot at about a seven to one ratio. But part of that is because I've worked on every screenplay, so I'm further along in the visual concept.

  Elia Kazan

  Circles, Directors, Degrees

  Source: www.interviewmagazine.com

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