A design may be called organic when there is an harmonious organization of the parts within the whole, according to structure, material, and purpose. Within this definition there can be no vain ornamentation or superfluity, but the part of beauty is nonetheless great-in ideal choice of material, in visual refinement, and in the rational elegance of things intended for use.
I love visual stylists like Bob Fosse and Vincente Minnelli and Michael Powell & Emeric Pressburger with The Red Shoes and The Tales of Hoffman.
If I want to do something in the TV industry, I should be allowed to explore that, but not in a way where it has to cancel out or ruin my visual art career.
Visual artists choreograph dances for the eyes, guiding visual journeys in specific ways. But when presented with little or nothing, the journeys of the eyes become erratic and finally still their restless searching. The eye and mind and heart grow quiet, come to rest, and begin to understand their own functioning more deeply.
The panorama-city is a 'theoretical' (that is, visual) simulacrum, in short a picture, whose condition of possibility is an oblivion and a misunderstanding of practices.
You get to bring your own sound system when you play an arena, all the lights and visual stuff, which I think is really cool. There's something about those old arenas, where it feels larger than life.
I don't think comedians take advantage of the fact that television and film are visual mediums.
The theme, or harmony, of a painting can be created by any one of its visual elements. A single colour. . . repetition of shapes. . . Light can be a theme.
My entire learning process is slow, because I have no visual memory.
I'm not as klutzy as I used to be. . . I've had visual therapy and all kinds of things to help, but I still wrap my purse around chair legs when I stand up to leave. I do ridiculous things on camera because I do them in my life all the time.
For me, movies should be visual. If you want dialogue, you should read a book.
It has been said that 80% of what people learn is visual.
I think television has betrayed the meaning of democratic speech, adding visual chaos to the confusion of voices. What role does silence have in all this noise?
Stand-up comics reflect less of a visual humor and more of a commentary.
Pay attention to your visual themes.
Every photograph is the result of a physical imprint transferred by light reflections onto a sensitive surface. The photograph is thus a type of icon, or visual likeness, which bears an indexical relationship to its object.
John Milius and Francis Ford Coppola and Oliver Stone - those guys are consummate filmmakers. They believe that you don't talk it, you show it. So when I find a role now, I try to find a visual way to tell what the character is about rather than trying to speak about it.
I heard friends and strangers saying, "You don't look Arab - what are you supposed to be?" It really is a tired old problem for children of immigrants and kids of mixed race, constantly trying to explain yourself. Eventually, you give up and say, "Okay, what do you think I am?" When you're in the midst of it, you come to understand that "race" is a loose social construct, a series of visual impressions, and that your identity can be whatever the hell crazy thing you want it to be, you just have to grow a sense of humor and cultivate selective deafness.
I have no style. There are certain people who just have a visual sense that defines their work. You could probably watch 30 seconds of anything they do and you'll know exactly who directed it. I don't have that skill.
Mary's [Hamill] working from an outsider perspective and I'm working from an insider-outside perspective. In this case, it will bring an added dimension to the visual aspects of the work. Also the processes and approaches that I'm thinking are about learning. I'm playing it by ear to experiment and see what happens.