Dave Barry Quotes

Movies are movement. A comic-book is immobility. From one still picture to another, but no movement. You need to make the movement in your head. In the movies, you see the movement. It's different. What is the same is the mind of the creator.

I think when I'm drawing, I'm seeing what's happening on the page almost as if it were unfolding like a movie in my head.

When I write, I never think of segments as chapters; I think of them as scenes. I always visualize them in my mind. Then I try to get the scene down on paper as closely as I can. That's the one thing that readers don't see - what you have in your mind. The reader can only see what you get on the page.

I was commissioned in 2003 to create an original show, and began developing 'Upwake.' 'Upwake' tells the story of Zero, a modern-day business man, going to work with his life in a suitcase, stuck between dream and reality and not able to decipher the two. I wanted 'Upwake' to have the same audiovisual qualities as a movie would.

One reason I've never been a fan of graphic novels is because a central aspect of literature for me has always been imagining what the things I'm reading about look like.

When you go to the theater, you are slipping out of your life into someone else's imaginary world.

A movie is so visually powerful, so overwhelming, that it tends to crowd out how you might have imagined things.

When I write, it's like watching a movie in my head.

When you're drawing something, you kind of run a movie in your head. You might close your eyes or stare into the distance and kind of see a movie unfolding and, you know, grab a certain moment or think, 'Oh, yeah, that's when we need just the point that he appears around the corner but just as she's getting into the car,' you know?

I've been drawing my whole life. My mom says my sister and I were drawing by age 1. Animation seems a real, natural extension of drawing as a way of telling a story visually.

When I sit down to write, I know everything I need to know... I start writing, and within 30 seconds or 60 seconds, I'm watching a movie. I'm not making this stuff up; the characters are acting it out, and I'm just writing it down.

It's funny, because what happens to me when I read a script, when something grabs hold of me, I start getting these flashes of people or places or things or images.

I think TV is a fantastic medium right now because of what you can do visually. It's phenomenal, and it's just getting better and better, but in a way, there's no beating the personal image you can create in your head, with those personal aspects, which you can only get from reading or radio dramas.

I write, having seen what's happening already in my head. I see it as a movie, and I'm just writing down what's happening in front of me.

I have got a good imagination.

But how shall I get ideas? ''Keep your wits open! Observe! Observe! Study! Study! But above all, Think! Think! And when a noble image is indelibly impressed upon the mind - Act!

The moment that you start to read a script, you're watching the movie in your mind, and that's the one moment that you have. Then, you go off to make the movie and you become so lost in it.

You sit and you read that, and you have to imagine turning it into a film that people are going to sit and watch. And you have an awful lot of input from a lot of other people. That's the way I work.

I can't always reach the image in my mind... almost never, in fact... so that the abstract image I create is not quite there, but it gets to the point where I can leave it.

When I start a film, I can sort of shut my eyes, sit somewhere quiet and imagine the movie finished. I can imagine the camera angles, I can even imagine the type of music. Without knowing the tune, I can imagine the type of music it needs to be.

All good and genuine draftsmen draw according to the picture inscribed in their minds, and not according to nature.

Radio is truly the theater of the mind. The listener constructs the sets, colors them from his own palette, and sculpts and costumes the characters who perform in them.

It's like when you read a book and you know that the words are important, but the images blossoming in your imagination are even more important because it's your mind that allows the words to come to life.

When I made my first film, I think the thing was probably helped me the most was that it was such an unusual thing to do in the early 50s for someone who actually go and make a film. People thought it was impossible. It really is terribly easy. All anybody needs is a camera, a tape recorder, and some imagination.

We [with Neal Dodson and Corey Moosa] wanted to draw people in with a dialogue - whether it's a creative process or a social issue or innovation of some kind; whether it was how we told the stories or what stories we told. We produced some online videos.