One of the most visually beautiful movies you can see on the big screen.
There's nothing I liked visually of the period I was a child. There was no dream in it, and nothing sparkled.
It's hard to visualize James Bond without seeing one of the actors who played him. And it's hard to visualize Harry Potter without seeing Daniel Radcliffe. A movie is so visually powerful, so overwhelming, that it tends to crowd out how you might have imagined things.
I think it's almost a unique control that artists can have now more than they ever did, I think if you don't be proactive about how you want your music to be visually represented, I think other people will do it for you - so how comfortable are you with people putting their own two cents on it?
When I was younger, I didn't even realize the way I think visually is different.
That's very important to me as well: presentation and how people perceive you, the visual of how things look, your posture. I learned that from [Bob] Fosse and Jerome Robbins, from all the great theater directors and the Busby Berkeleys. You overdeliver: visually, emotionally.
One of the things I like about making stuff in the age of the Internet, is that people make stuff in response to it. You can see people respond to your work visually or musically or with writing.
Clothing, right from our first direct evidence twenty thousand years ago, has been the handiest solution to conveying social messages visually, silently, continuously.
I can't see any reason why a film shouldn't be stylized and visually beautiful. I don't think a beautiful set is pretentious.
I learned three important things in college-to use a library, to memorize quickly and visually, to drop asleep at any time given a horizontal surface and fifteen minutes. What I could not learn was to think creatively on schedule.
I was really inspired by intense nature and landscapes, and I'm always inspired by open spaces and giving room for things to grow sound-wise and visually. I have a bit of claustrophobia myself which I think translates into my music.
My brother (Bruno Mars) is as smart as he is because a lot of things he's doing, creativity wise, our Dad used to do. Things my father used to do visually and musically. I see a lot of my father's influence in both of us.
I'd like the [Cosmos] series to be so visually stimulating that somebody who isn't even interested in the concepts will just watch for the effects. And I'd like people who are prepared to do some thinking to be really stimulated.
The whole world, as we experience it visually, comes to us through the mystic realm of color.
Baldness is visually enough of a stigma as it is without a big sweaty bloke on stage pointing it out.
[Voicing a cartoon] feels like going down a mysterious but joyful black hole. Once you relax for 15 or 20 minutes, and really go, "I don't care if I look like an ass," it's really fun to see what happens. You know that nothing is being visually judged.
The aim of art is a constant, and a continuous job to reveal visually the attitude of our mentality. And the less we disturb the influence of our mentality the more I believe we come close to the truth.
Working with artists and other poets has made me aware that there was a bigger "me" that I hadn't been quite aware of. Plus we had a good time. It's so much fun to write, for example, with a big brush on a giant piece of paper and to help create visually attractive and surprising objects, which is not what you normally do when you're writing a poem. It's wonderful to create these pieces with artists.
I think people just see cinematography as being about photography and innovative shots and beautiful lighting. We all want our movies to look great visually, to be beguiling and enticing, but I think that what really defines a great cinematographer is one who loves story.
I wanted to be complete, because I figured that, visually, there was an avenue to explore with painted stuff
