Gerard Way Quotes

I always would dream of making music videos. Whenever I make music, I always have a visual in my mind. I always see things.

I've always wanted to be a director; it's just how my mind has always worked. If I hear music, I see music videos and all the shots and setups to edit it all together. If I interact with a person, I'm seeing a whole scene come to life.

I think visually... so, even when I'm writing a play, I'm envisioning it.

Because I come from the theater, I use the images of the theater and of movies a great deal when I write. I see the story in my head. I have to break down the outline of a story first. I have to know where I'm going. Usually I have a good beginning and a good ending, and then I think, "Now I have to find my way through it."

The thing is, as a film director, you're essentially alone: You have to tell a story primarily through pictures, and only you know the film you see in your head.

I discovered that, in order to write a magnificent piece, you should shoot the images because once you are filming, you are writing the script in your mind.

Some of my earliest work was in comics. I tend to think in pictures and always like to write scenes possessing the dynamic you find in comics.

People have asked me a lot, 'What comes first? The pictures or the story? The story or the picture?' It's hard to describe because often they seem to come at the same time. I'm seeing images while I'm thinking of the story.

I can't separate the process of writing from the visual process. I'm speaking only for myself here, but I'm a highly visual writer. In my imagination, when I'm thinking of a scene, I think of every last detail of it: The space, the color palette, the blocking of the actors, the placement of the camera.

Illustrations can be a big window: a looking glass into the author's imagination.

Writers divide fairly cleanly into those who only work through what they hear and those who are more visual. I am the latter, where I lie down on my office floor and play scenes through my head to - cinematically, several times with different elements - to see what works. I can't write a scene until I can see it.

As the director, I try to go in and know as much as I can about the material. I really try to go in and understand what all the characters are about, what the movie's going to look like.

I have trouble writing if I can't picture how things are going to look.

I think my books come out very visual, which is an obvious consequence.

I write on a visual canvas, 'seeing' a scene in my thoughts before translating it into language, so I'm a visual junkie.

I read things and imagine them and then kind of start trying to kind of take what I imagine and make it visual for everybody else to see. It just happens to be my personal vision, and every person's is going to be different, every book reader.

I'm a comic book writer, so I work with a lot of artists. Sometimes, you get art back, and you're like, 'Oh, no.' Sometimes, you get art back and you're like, 'That's exactly what I imagined in my head,' and you're happy about that.

I write really visually. In my head, I'm constantly picturing things as I'm writing, so for me, videos are such an expressive part of my job.

The two sensibilities, the visual and the verbal, have always been linked for me - in fact, while reading a particularly evocative passage, I will imagine what the photograph I'd take of that scene would look like, even with burning and dodging notes. Maybe everyone does this.

I'm a very visual person when it comes to writing music. I like to see something besides just a script, even if it's just a storyboard or pictures from the set.

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.

Innovation and thoughtful visual storytelling are deeply woven into the fabric of Getty Images.

Bringing words to life, storyboards show you things that words can't.

When you're writing something to direct, you just write exactly what you're going to do. You don't have to write it in a way for other people to understand or interpret.

I think I've learned a lot about how to make movies, and particularly about how to edit movies by thinking about how similar problems are resolved in other forms. The issues in all forms are the same in an abstract sense, aren't they? Characterization, abstraction, metaphor, passage of time... Whether it's a movie, a novel, a play, or a poem, those issues exist. And each person resolves them differently.