I'm always trying to find something unique or a project that I can do something unique in. When the director has a vision for a piece that I've never heard before, and they can back that up with visuals and they talk a good game, I get really interested in the world that they're trying to create.
I have enough friends who are gamers. I actually enjoy watching them play because of the visuals and the storytelling of the games. I just love being able to go on an adventure and games are just so sophisticated now that you can just get lost in a world for 20 hours and just be someone else in a very visceral, emotional way. And that's just fascinating.
There is a director who should make 'Silver Surfer' - he is mentally committed to it. He's doing another movie now. What's most important to me about this guy, first, is that he's incredible with visuals. But he's also a spiritual guy, a Zen Buddhist. ... Galactus is a force of nature, not a being. That's all I'm saying.
That's just how I see things on a base level: there's so much going on. Or at least I like to have that feeling. It's part of being interested in notions of reality apart from storytelling. I don't know if it has something to do with having an art school education, which makes you aware of the way visuals speak, or makes you trust them more.
I always liked the visuals to be choice and at the same time minimalist. And, I love black boxes. After all, that's what theatre is, it's an empty space, and it's both limited and unlimited because the space is the space, but what you can do with people's imaginations is really endless.
My favorite films, I would put my answering machine up to the television set and hit record. I'd tape my favorite movies and then I could go back and listen to them again. I only had the soundtrack, I didn't have the visuals. But I think it made me really pay attention to the soundtracks.
I have been fully involved in designing my stage shows; it's important to me to do something really unique and almost off-the-wall to bring the music and the visuals together. I love design and actually went to school for a bit for graphic design, so it isn't so much 'pressure' for me; it's a way to be creative, and I really enjoy it.
Telling stories with visuals is an ancient art. We've been drawing pictures on cave walls for centuries. It's like what they say about the perfect picture book. The art and the text stand alone, but together, they create something even better. Kids who need to can grab onto those graphic elements and find their way into the story.
The visual side of being a performer or in a band is, to me, as important as the music. I know not everyone shares that same opinion, but when I'm writing songs or working on lyrics or coming up with an idea, I think about videos as I'm in the studio. If I had all the money in the world, I would have the most amazing videos ever, you know? You're saying grandiose, and big; if the song warrants it, I try to push the visuals as far as I can.
You've got to bring the emotion, and you have to understand that you can't touch other people if you're not touched. You can't move other people if you're not moved. So if you're just giving some frickin talk you've memorized over and over again, you're going to have a flat affect. If you've just got a bunch of visuals on the screen that are leading your talk, hang up your shoes and get the hell out of there.
There's a level where the themes of a film are very relevant to me and also the idea of finding out how relevant one genre is to another. I think that westerns and samurai films and superhero films have a lot in common. It's just that the scale of the visuals in tentpole films can sometimes overwhelm the drama.
The best simulator for spacewalking is underwater - it allows full visuals and body movement in 3D. Virtual reality is good, too, and has some advantages, like full Station simulation, not just part. Like all simulators, they have parts that are wrong and misleading: an important thing to remember when preparing for reality.
Each film has its processes. It doesn't mean that all animated films have to be like "Boy and the World," but creators have to have total freedom. There are films that are born with the purpose to sell. They are still admirable films with great artists and great visuals, but we wanted to use a more radical approach to create art. That's what we tried to do.
I am involved in every step of the process [musicmaking]. Whether it is the production or the mixing or the visuals and music videos. I'm involved in every step of the way as far as the creative, directing and merchandise . Just making sure everything that falls in line with my brand is portrayed a certain type of way. It all about quality control and attention to detail, and making sure anything you put your name on is on point.
There's another aspect about the Seventies. Blazing Saddles, as wonderful as it was, sort of hurt the Western. It made such fun of them, that you almost couldn't take them seriously from that point on. That's why only Westerns that had the stink of Watergate or Vietnam could be taken seriously. There were so few Westerns made since then, from the Eighties on, that the few directors who did were so pleased with themselves and so happy to have the opportunity that they got lost in visuals, they got lost in the vistas and the pretty scenery.
I love hand-drawn animation, but I have to say I have fallen in love with CG animation. What you can do in terms of visuals is pretty stunning, and I think if I did go back and do a hand-drawn animation, I would want to make sure that, from a stylistic standpoint, it would be as beautiful as 'Hunchback of Notre Dame' at least!
Danny Boyle has been a huge, has had a huge effect on me. His movies, early movies like Trainspotting and those movies. So I've always loved the energies of those movies. But also, that they are very focused on the characters. Cause it's not only gimmickery, it's not only about visuals. You feel a real need, a love for the main characters. So that's what I've always loved about watching movies myself.
even more ominous ... is the fact that since the Second World War a new kind of intellectual has emerged in large numbers. ... he is only minimally interested in the proper intellectual significance of images and objects. Such people are not really intellectuals, but visuals ... A visual is more interested in style than in content ... A visual does not feel a rioting crowd being machine-gunned by the police, he simply sees a brilliant news photograph.
Students of the psychedelic realm know that one's expectations are a powerful determinant of the direction, content, and outcome of the experience. So, we should say at the outset that the experiences recounted here were preceded by careful preparation, where the trip was presented as a learning experience and a process of self-discovery. They all took place in safe, supportive environments. They generally did not fit the stereotypical model of teenagers dropping acid at a rock concert, looking for awesome visuals and good vibes.
But Sir, he works with NT? Why would he tell us where to go? Aren't we the competition?' Satya asked. Nagesh shook his head gravely. 'Actually the competition starts at the headquarters and is between the people who come on TV, and want to make sure their face is noticed by the rival channel, so that they get picked up for a higher salary. Between us camerapersons, there is no rivalry. We don't do piece to cameras, we don't come on TV. We do all the jostling to get you the best visuals to show on the channel. We just want to get the news to the viewers, no matter which logo is pasted on it.
Shweta Ganesh Kumar
Evolving Culture, Reality, as we perceive it, is largely shaped by the artifacts, both material and symbolic, of thought, thought that leads to creative manifestation in form and color. With that in mind, it might be suggested that the visual artist, - from commercial designer to fine art painter - has much to do with most things that enter your everyday visuals, and thus form a major portion of one's reality and, certainly, how this culture manifests and evolves.
I think the power of the short film is incredibly underrated. It is way easier to get someone to watch a 15-minute film then a full-length feature. In those 15 minutes you have the opportunity to express your voice as an artist and hopefully connect with your audience. If you are trying to be a first time feature director then a short film that demonstrates you have a grasp on the themes and concepts of the movie you want to direct is a no-brainer. Whether they are collaborators or potential investors, filmmaking is a visual art form so you obviously need visuals to show them!
Jane Kindred's THE HOUSE OF ARKHANGEL'SK dazzles with its surreal blending of worlds. Lost angel Anazakia, last survivor of her murdered family, finds herself in the hands of demons with suspect motives, betrayed by her own kind, stranded in the world of Man""21st century St. Petersburg, Russia, to be exact. Weaving startling visuals with compelling characters, Kindred reveals parallels in the two worlds that are 'neither haphazard chance nor calculated design.' It's a dizzying, vibrant read.
Our favorite film is Vertigo. Amy Eleni and I must watch it seventeen or eighteen times a year, and with each viewing our raptness grows looser and looser; we don't need the visuals anymore-one or the other of us can go into the kitchen halfway through and call out the dialogue while making up two cups of Horlicks. From the minute you see empty, beautiful, blond Madeleine Elster, you know she is doomed because she exists in a way that Scottie, the male lead, just doesn't. You know that Madeleine is in big trouble, because she's a vast wound in a landscape where wounds aren't allowed to stay open-people have to shut up and heal up. She's in trouble because the film works to a plan that makes trauma speak itself out, speak itself to excess until it dies; this film at the peak of its slyness, when people sweat and lick their lips excessively and pound their chests and grab their hair and twist their heads from side to side, performing this unspeakable torment.
Experiential versus the God eye! Possessing 'ego vision', a person's view through her/his physical eyes is quite versatile; able to discern wide and varied vistas over huge distances or scrutinizing the minutest of details. Ego's very nature: capable of relatively expansive, detailed, and yet individualistic perspective is crucial. Separating itself out from the God Force, ego extracts infinite unique experiences, integral to humanity's process of spiritualizing matter. Incarnating on the earth, achieving individualism is therefore critical for attainment of divinity. Individualism may cause momentary estrangement from the God Self. However, this person has forgotten that they are everything in the mirror, the 'sliver' and the 'ball of light', ' continues Kuan Yin. During this complex passage Lena was inundated by infinite rapid-fire visuals: emanations from the God Mind. 'Further and unfortunately, wrong assumptions are made about suffering. Some individuals even believe that it is required, that suffering brings one closer to salvation. Quite the contrary, ' disputes Kuan Yin, 'the God Force likes to play. Therefore, if all individuals could unite creating a real sense of community many problems could be healed. The God Force is separate and not separate, whole and not whole at the same time. Really, it is not 'sliceable', not reducible. Even when it is sliced into individual energies, it does not diminish the total God Force or the power of the individual. Each of you has the potential for the God Force potency. However, no individual can overcome the God Force. There is a misinterpretation, (by some) that Satan is as powerful as God. Limited energy cannot live on its own. Every experience must exist and yet they (the limiting forces) can never exist on their own. Limited energy, then, is the experience of the absence of the God Force. Therefore, there is no need to fear it. Those choosing such experiences have a need to understand how it feels to believe evil powers exist. Again, I say those who pursue this route are taking it too personally. They believe the story they've made up about themselves. It is similar to a person going into an ice cream store and only choosing one flavor from many. Preoccupied with tasting that flavor for a very long time, they are probably quite sick and tired of it. Still, they don't want to believe there are any other flavors available. The 'agreement', then, is to continue to believe in that particular flavor. Here's where reincarnation and its opportunity for experiencing a vast array of perspectives, 'agreements', enters in. Another life offers another opportunity, a chance to 'switch flavors' so to speak. Taking oneself too personally, however, can cause a soul to get caught up, stuck in redundancy: in a particular (and perhaps unfortunate) flavor. In such instances, the individual is forgetting one has the ability to choose his or her flavors, lives, ' contends Kuan Yin.