Visual Details Quotes

The mass of Venom. I mean, he's like a big, foreboding, physical presence. Actually, let me correct myself - the eyes, the tongue, the mouth, those are his most distinguishing traits, and so making those look as photoreal and true to the comics as we possibly could was super important to me.

The truth is, I don't sketch much at all. I have a very visual/spatial brain that retains a lot of information about maps, directions, positioning, and details, so I usually prefer working out those issues on the page itself.

In computer animation, every detail has to be thought out, designed, modeled, shaded, placed and lit. The more you add, the more computer memory you need.

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.

If we knew that tonight we were going to go blind, we would take a long, last real look at every blade of grass, every cloud formation, every speck of dust, every rainbow, raindrop-everything.

A still image attracts the viewer with an overall impact, then reveals smaller details upon further study.

She was a thin woman in a mustard-yellow suit, with a yellowish complexion, short-cropped rusty red hair, and a stiff posture. She reminded Reynie of a giant walking pencil.

When I started, you didn't focus so much on production, certainly not - gosh - down to the finest little detail of how you shifted your eyes or how you turned to somebody. A lot of the shots were far away from a still camera. There weren't as many close-ups and intimacy.

I really want to see everything. If it's around me and it's part of my show, I need to be a part of all of it. From the creation of the music, to the surface of the floor, to everyone's hairstyle, to the details with the buttons and the bows and the snaps and the zippers. All of those things!

Gravity Falls' didn't just appear overnight - every spooky cave and moss covered tree was created by a team of brilliant artists.

But where do they find these lines in nature? I can only see luminous or obscure masses, planes that advance or planes that recede, reliefs or background. My eye never catches lines or details.

I've learned to really appreciate the courtside position and the art of picking up certain subtleties. Player expression you can't see from a camera angle, or the booth.

When we watch a film as actors, you have to understand that we always see much more than what's on screen.

A movie contains literally tens of thousands of ideas. They're in the form of every sentence; in the performance of each line; in the design of characters, sets, and backgrounds; in the locations of the camera; in the colors, the lighting, the pacing.

In advertising, you have a small window to say the most you can. That's what songwriting is. The difference is, you get to put the leaves on the trees and colour 'em in.

Be able to describe anything visual, such as a street scene, in words that convey your meaning.

It's impossible for me to go into a room or look at a location without a part of my brain photographing it - picking the best angle or looking at the way the light hits.

I try to ask visual questions. I'll ask what someone was wearing, if that seems relevant. If possible, I'll walk over the same ground that they're depicting. Of course, I can never get it precisely as it was.

I can see the character in a photograph, in the way a guy stands or holds his hands, the way he buckles his belt. I fantasize a lot looking at photographs. I'm sure that doesn't work for many people.

Some directors don't get involved in the cinematography and are just about story, but I'm definitely more tactile than that in terms of my involvement in the minutiae.

I never succeed in painting scenes, however beautiful, immediately upon returning from them. I must wait for a time to draw a veil over the common details.

Blue, green, grey, white, or black; smooth, ruffled, or mountainous; that ocean is not silent.

As a director, your job is to make sure no one for any reason is taken out of the film. Sometimes it's impossible and sometimes things don't come out the way you want them to, but I think you have to work really hard at making the world engrossing and details are a major part of that.

I try to make a really good spy movie, so the animation has to be good. 'Bot Seeks Bot' was one of my lighter and more playful ones, so it can survive not being visually told as well. I did have some issues with the quality of the inking on some of the animation, but a lot of that will only ever bother me.

When shooting a story about someone, their hands should always be on your list to shoot.