I can't stop thinking about cutting myself up. Visual bruises can be covered with make-up, but down to the core, I'm all bruises.
Dialogue should simply be a sound among other sounds, just something that comes out of the mouths of people whose eyes tell the story in visual terms.
I'm a visual artist myself and always have been so it's very natural for me to be very concerned with presentation, whether it's artwork or onstage.
I come from a visual background. I used to work in the camera department at Warner Bros. when I was a teenager. I grew up dusting lenses and learning about photography.
Because I found myself telling the story of his family to people without the visual aids that I was able to employ by filming them eventually. But I very much knew exactly what I was going to do.
My paintings have an ongoing dialogue with photography. There are many painters who would say the same, I'm sure. The difference is that I'm thinking more about the temporal aspect of photography, rather than the visual.
There are so many films now where you know the story is a supporting role to the visual effects.
I am a horrible visual artist. I can't fix a car, sew, knit, cook, etc. Statistically, there is more I don't do than do.
The way I create music is maybe like a painting, to compose in a more visual way. Basically it's the music that I want to hear- that's my inspiration and bottom line. I just try to get ideas from books, movies, paintings.
For some years now, I've been doing a program called "Sinatra Sings Sinatra. " It's been going on virtually since the end of '98. Nineteen ninety-eight was the year Frank Sinatra died. . . . Now having reached what would have been his 100th year - I decided back in 2013 when we started to put all of this together, I decided what we should do was the first "Sinatra Sings Sinatra" in which we go audio visual.
If I don't see a music video to it while writing it, I just scrap it immediately. It's very visual.
Animation offers a medium of story telling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world.
The visual stuff just lives inside of you. As far as really being able to take care of an actor on a set, how to talk to an actor, and how to get what you need out of a scene is probably where I might know a thing or two. Although, in TV, the actors are pretty much left alone. It's really the writer's medium more than anything.
On one level, I'm interested in how the space dictates the effect visually - how the composition of a given work changes depending on the nature of each wall. But I'm also trying to emphasize less tangible elements: the amount of time it takes to walk the gallery's perimeter; how one's physical distance affects his or her sense of the overall composition; how the size of the space creates a sense of visual rhythm. It's really a matter of seeing how much structure is necessary to impose for those things to become apparent.
The concrete is better than the abstract. The detail is better than the commonplace. The sensual [through the senses] is better than the intellectual. The visual is better than the mental.
The idea of a visual icon that gives you a sense of information very quickly and that you can easily just say "That's what the style is. "
So many film makers are scared of visual effects - which is no crime.
I'm very interested in the visual world because I'm also very interested in feminism. I find that the world of watching takes us into the most psychotic state of, like, "You are this one person, but you have to become another person to see these images. "
On some kind of unspoken, deep, deep level, I think we [with Ryan Murphy] have an aesthetic that we both understand or connect to. It's not that we see the world in the same way because we have very different points of view, but we're both visual stylists.
The only reason that you do visual is solely for the visual. That's the only reason. It doesn't sell your music for you.