I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.
I wanted to play music from the age of seven. I suddenly fell in love with it and that's what I was going to do, or to be involved with music. It was just speaking to me at a level that as a seven year old I suddenly realized the world was capable of supporting in my head a lot more than what I was understanding verbally and visually.
Visually through my work, over and over, I'm trying to create characters that are - to some people they may be monstrous, and I hate that word, because I think they're just unique. Misfits. I purposefully want to present something a little different so that whether people are disturbed by it or not, they can wrestle with it.
I wanted to be complete, because I figured that, visually, there was an avenue to explore with painted stuff
As pointed out in a followup, Real Perl Programmers prefer things to be visually distinct.
I'm really visually stimulated more than anything. I don't really listen to music. I'm more into watching telly or watching movies and visual art.
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.
People want to see things that are visually beautiful.
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.
You see so many movies. . . the younger people who are coming from MTV or who are coming from commercials and there's no sense of film grammar. There's no real sense of how to tell a story visually. It's just cut, cut, cut, cut, cut, you know, which is pretty easy.
When I write my scripts, there's a point at which if I'm not starting to see them visually, I feel like I'm kind of cheating. So my scripts are laden with a lot of visual description, which makes them not so much fun to read - I kind of weigh them down.
I'm constantly being visually stimulated.
The good news is we are seeing an incredible surge in non-animal technologies in laboratories. With researchers using stem cells, visually impaired people may one day have new corneas and lenses grown from their own cells. That is likely to be a more effective and cheaper approach than using animals.
I'm a much better filmmaker than painter. But studying it did make me visually acute and taught me lessons like being economic: Say something once and you don't have to say it again.
When I was younger, I didn't even realize the way I think visually is different.
Whenever someone calls me ugly I get super sad and hug them, because I know how tough life is for the visually impaired.
There's nothing I liked visually of the period I was a child. There was no dream in it, and nothing sparkled.
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.
When you're directing an ongoing series, the tone has already been set. So a director will come in and fulfill that tone - reinforce the characters and their behavior. The challenge is to find unique ways that you can visually tell the story while keeping the established tone and the pace and the characters.
