Thomas Kinkade Quotes

Television is a visual medium. You have to create some kind of visual interest. And it's entertainment for your eyes.

So to me it's very similar in terms of trying to distill within the image, those elements that are gonna form, hopefully, a compelling visual statement.

My concern has always been with creating images that catch people's eyes, penetrate their minds, warm their hearts and cause them to act.

I've come to believe in the primacy of form - the notion of art seducing you through your senses, through your eyeballs.

Of course I want my films to look really good, but every single element is chosen for a reason. It's telling something in the story.

I have always been interested in having people fall into the image and be aware of their reaction first, and then think about the style.

I'm interested in aesthetics, in the way things look, in finding something in an image that maybe people haven't seen.

I've always been so surprised by how people interpret my photos in context.

It's a visual world and people respond to visuals.

Life rarely presents fully finished photographs. An image evolves, often from a single strand of visual interest - a distant horizon, a moment of light, a held expression.

A special effect is a tool, a means of telling a story. A special effect without a story is a pretty boring thing.

I'm a big believer in the emotion of design, and the message that's sent before somebody begins to read, before they get the rest of the information; what is the emotional response they get to the product, to the story, to the painting - whatever it is.

I love telling stories with images. But I think there's more to just saying a movie is great visually.

Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.

Since I started as an actress in the film industry, I realised the power of visuals and how that can fuel the imagination of our mind. It is very powerful. Therefore, I always cater to my own sensibility first and then to the world.

Professional cinema image-taking should integrate, serve, interest, and enhance the story. I judge cinematography not just for a story well told but for what the story is.

I don't know what people like to see.

Great images take you on a journey via a single photograph. The depth and layers pull your eye all over the frame, causing you to pick up interesting pieces along the way, ultimately coming to a climax.

I don't think the written word is important in movies anymore and the really great movies are done by great directors who in many cases write their own scripts. I think it's gotten to be more of a visual thing than an audible thing.

To engage a sequence, we keep in mind the photographs on either side of the one in our eye.

When people look at my pictures I want them to feel the way they do when they want to read a line of a poem twice.

Paintings invariably sum up; photographs usually do not. Photographic images are pieces of evidence in an ongoing biography or history. And one photograph, unlike one painting, implies that there will be others.

I'm a really visual artist, and I love writing treatments for music videos, photo shoots, fashion, and all the visual parts that go along with making an album.

I find it impossible to think of a picture save as a window, and my first concern about a window is to find out what it looks out on... and there is nothing I love so much as something which stretches away from me out of sight.

To see life. To see the world. To watch the faces of the poor, and the gestures of the proud. To see strange things. Machines, armies, multitudes, and shadows in the jungle. To see, and to take pleasure in seeing. To see and be instructed. To see and be amazed. (Describing the powers of photography; written for the launch of LIFE Magazine, 1936.)