Human beings are really attuned to their senses. When you work in film, you are working with the visual and audio senses. An understanding of tactile and other components that go into the creation of those objects are important to making them look real on screen, like a plasma of energy.
And also the idea of not making it apparent that it's different from the rest of the film, even though there are visual differences, the audience is supposed to think that they are with him when he wakes up in the morning.
We make such terrible mistakes with visual choices about beauty.
I seem to walk in the world as two people. The normal everyday-me is as preoccupied, unobservant and oblivious to visual clues as I ever was. Then there is the photographer-me, the one who has a camera in hand and a specific project in mind, and then the world suddenly jumps to life with potential pictures, as if a switch had been thrown in my brain and a different person is looking out of the same eyes.
I find music the the clearest and easiest way in to what a movie will feel like - more so than visual references or other movies or dense dossiers of research material. Every now and then I'll send a piece of music or two to people I'm working with - actors or heads of department - when I think it'll help them get a sense of the kind of movie I'm proposing. Often those pieces will end up in the movie - sometimes they won't.
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.
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.
In the same way, photography, for me, has fragmented. You do have people doing bodies of work - often with found photographs - that are quite hard to understand unless you got a very sophisticated visual history behind you. But there are different camps.
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.
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.
In visual art it's better once to see, than one hundred times to hear.
There are three forms of visual art: Painting is art to look at, sculpture is art you can walk around, and architecture is art you can walk through
Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.
I love visual gags and gimmicks; I love them.
I don't think any particular painters have inspired me, except in a general sense. It was more a matter of corroboration. The visual arts, from Manet onwards, seemed far more open to change and experiment than the novel, though that's only partly the fault of the writers. There's something about the novel that resists innovation.
I am interested in ideas, not merely in visual products.
For me, style is something that I've always loved. It's more than just, "Oh I make this type of music, so I should dress this type of way. " But it's very important. On the other hand, if I was on stage in a hoodie and some baggy jeans, it wouldn't give off the same feeling. People appreciate the music, but people want to see the whole visual thing.
Movies are a complicated collision of literature, theatre, music and all the visual arts.
Visual tonics such as 'timed creativity' need to be introduced to refresh and refurbish the muse.
extreme visual clarity, tunnel vision, diminished sound, and the sense that time is slowing down. this is how the human body reacts to extreme stress.