Viewer Perspective Quotes

You can't create a movie as you think about it. And what's in the scene is not what's being seen. A shot always means something other than what it is. All are vehicles. A landscape is just a vehicle. The viewer might think different things, and I'm not going to intervene.

My reaction to 3D is subtly. Things don't come out at you, but rather you - The audience come into the film.

I think all art is subjective - that whoever's watching it or listening to it will decide whether it's good or bad.

The photographer's intentions do not determine the meaning of a photograph, which will have its own career, blown by the whims and loyalties of the diverse communities that have use for it.

When you're watching an action movie, you experience an action movie more outside of the aquarium, you're out of the aquarium looking in at all the swimming fish that are in there. Whereas horror films and thrillers are designed to put the audience into that box, into that aquarium.

There is no absolute beginning to any story, after all. There is only the moment you begin watching.

And one of the things that's interesting about how they're doing the show is that the audience almost knows more than the characters do in some of these scenes, and the extent of that is unique. So it's grown into a different show in a way. It's sort of grown into a different experience watching it.

When people say "What do you want people to get from this movie?" I say, "Well, it depends on what they bring to it." I don't try to decide what people should get from it or why. I don't do a part for those kinds of reasons.

You finish a film not in the editing, but in the conversations that audiences have with themselves - and in that sense, every viewer is making a slightly different film. And that's wonderful.

The beauty of any artwork is that it becomes the person that's watching it: What do you take out of it?

I don't often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.

There are always two people in every picture: the photographer and the viewer.

Particularly with live TV, I have a really good time reacting in the moment to things that are going on around me. I try to think of the viewers' perspective too.

What I enjoy about my work is that it's all things that I wanted to see as an audience member so there's part of me that understands what an audience wants to see in that respect.

A photograph is a meeting place where the interests of the photographer, the photographed, the viewer and those who are using the photograph are often contradictory. These contradictions both hide and increase the natural ambiguity of the photographic image.

For me, personally, I'm more comfortable with what I would call third-person entertainment, meaning watching a character that's explicitly not me and experiencing something through a character's eyes, than what I would call first-person entertainment, which is a video game in which I am the character.

When you're in a movie with an audience, you can feel where a film is dragging. People start to move. They fidget. You need that perspective. To give it a cold eye.

The audience doesn't come to see you, they come to see themselves.

Whenever you finish an artwork and the viewer comes and views it, at that moment you've given up control.

I'm sure we don't read old paintings the way they were intended.

All art is unstable. Its meaning is not necessarily that implied by the author. There is no authoritative voice. There are only multiple readings.

You can Google how many goals a player has scored in the last few seasons, or against this particular side, but our job is to point the viewers to something that is happening in the game that they may not have seen or thought of.

The real change that paintings undergo is in the perceptions of the viewer.

The need to look behind the curtain is great for a filmmaker. But whether you want to deconstruct what you like as a viewer, what you like and don't like, I wish we could let films stand on their own a little bit.

I never overestimate the audience, nor do I underestimate them. I just have a very rational idea as to who we’re dealing with, and that we’re not making a picture for Harvard Law School, we’re making a picture for middle-class people, the people that you see on the subway, or the people that you see in a restaurant. Just normal people.