Visuals Quotes - Page 36

• Danny Boyle has been a huge, has had a huge effect on me. His movies, early movies like Trainspotting and those movies. So I've always loved the energies of those movies. But also, that they are very focused on the characters. Cause it's not only gimmickery, it's not only about visuals. You feel a real need, a love for the main characters. So that's what I've always loved about watching movies myself.

  Fredrik Bond

  Real, Character, Trainspotting

  Source: collider.com

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• I've been working with music videos and commercials, they are naturally very music driven and visual driven. So that feels like my natural element to be working with that.

  Fredrik Bond

  Video, Natural Elements, Driven

  Source: collider.com

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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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• Illusions as bad as mine make people aware of the fallacies of visual information and the pleasure to be derived from such fallacies.

  Vik Muniz

  People, Information, Illusion

  Vik Muniz, Charles Stainback, Mark Alice Durant (1998). “Vik Muniz: seeing is believing”

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• The postmodernist critique of representation undermines the referential status of visual imagery, its claim to represent reality as it really is - either the appearance of things or some ideal order behind or beyond appearance.

  Craig Owens

  Reality, Order, Appearance

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• [My photography teacher] gave me the Mexican Day Books of Edward Weston and just blew me away with this work. The fact that you could be this fabulous visual artist, with all this milieu of people like Diego Rivera and you could sleep with these gorgeous, amazing women, that you could live that life - that photography could deliver you that life.

  Max Pam

  Photography, Teacher, Book

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• Photojournalist? With a few exceptions, those of us working as photojournalists might now more appropriately call ourselves illustrators. For, unlike real reporters, whose job it is to document what's going down, most of us go out in the world expecting to give form to the magazine, or to newspaper editor's ideas, using what's become over the years a pretty standardized visual language. So we search for what is instantly recognizable, supportive of the text, easiest to digest, or most marketable - more mundane realities be damned.

  Eugene Richards

  Jobs, Real, Editors

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• The decisive moment, the popular Henri Cartier-Bresson approach to photography in which a scene is stopped and depicted at a certain point of high visual drama, is now possible to achieve at any time. One's photographs, years later, may be retroactively rephotographed by repositioning the photographer or the subject of the photograph, or by adding elements that were never there before but now are made to exist concurrently in a newly elastic sense of space and time.

  Fred Ritchin

  Photography, Drama, Years

  Fred Ritchin (1990). “In our own image: the coming revolution in photography : how computer technology is changing our view of the world”

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• Generally, the imagery and the text go hand in hand. It's much easier when the text comes first, but sometimes I need visual stimulation in order to find the words. I get an idea of what I want when I begin to shoot, and the text is usually the last thing to be resolved. I tend to leave the text open, and I refine the words up to the last minute. As for the image, I can resolve that and get that done fairly quickly.

  Lorna Simpson

  Order, Ideas, Hands

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• The visual system of the brain has the organization, computational profile, and architecture it has in order to facilitate the organism's thriving at the four Fs: feeding fleeing, fighting, and reproduction.

  Vilayanur S. Ramachandran

  Fighting, Order, Organization

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• Simplicity is all. Simple logic, simple arguments, simple visual images. If you can't reduce your argument to a few crisp words and phrases, there's something wrong with your argument. There's nothing long-winded about 'Liberté, égalité, fraternité'.

  Maurice Saatchi

  Simple, Long, Simplicity

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• What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.

  Andy Serkis

  Integrity, Character, Emotional

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• Music is a spiritual doorway its power comes from the fact that it plugs directly into the soul, unlike a lot of visual art or textual information that has to go through the more filtering processes of the brain.

  Peter Gabriel

  Spiritual, Art, Soul

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• What we need is a critique of visual culture that is alert to the power of images for good and evil and that is capable of discriminating the variety and historical specificity of their uses.

  William J. Mitchell

  Evil, Historical, Needs

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• I was very young, maybe five. The opera was very... I was attracted to opera to the point that I think it's the reason I started to write music for films. I never studied. There are film and music school that teach you how to write music. I never studied that. But the influence of opera, which is a combination of storyline, visuals, staging, plus music... that was perhaps the best school I could have had. That's what gave me the idea of coming to Hollywood to write music for films.

  Lalo Schifrin

  School, Writing, Thinking

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• Maybe there is a sort of a sweet middle ground there, where you can do something with something with like 20 to 40 million and do something which is much more character driven, but still create a sort of visual spectacle around it. That is what I'd like to do.

  Duncan Jones

  Sweet, Character, Driven

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• The visual side of being a performer or in a band is, to me, as important as the music. I know not everyone shares that same opinion, but when I'm writing songs or working on lyrics or coming up with an idea, I think about videos as I'm in the studio. If I had all the money in the world, I would have the most amazing videos ever, you know? You're saying grandiose, and big; if the song warrants it, I try to push the visuals as far as I can.

  Tamaryn

  Song, Writing, Thinking

  Source: www.interviewmagazine.com

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• One of the more distant concerns is with the visual interpretation of the music. I find it fascinating but I don't always particularly get involved with it.

  Squarepusher

  Interpretation, Get Involved, Concern

  Source: thequietus.com

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