Bill Moyers Quotes

I know when I go to a movie I want to experience something, whether to laugh, to cry, to feel bad.

We like movies and books that give us this emotionally moving experience, where you feel like a slightly different person, and you see the world a little different after you finish. It lets you see your own life in a different way, and it actually makes you feel really good.

A film should be an experience. You should feel something. It should motivate you to feel something.

The written word can be powerful and beautiful - but films transport us to another place in a way that even the most evocative words never can.

Music is an emotional experience, and that is what imprints itself on the soul. And I think for me, any great art is art which communicates human emotion.

Game designers are obsessed with emotion. How do we create the emotions that we want gamers to feel, and how can we really make it this intense, emotional experience?

One performs a very different act when reading a movie and when reading a novel. Your attention behaves differently.

If a spectator with a philosophical mind, somebody accustomed to reading books, gets the same kind of information in a movie, he might not fully understand it.

It is very easy to make clear what you want a film to say, but I did not wish to engage in overt propaganda, even for the right cause. I wanted to create an experience through the films, something where people could have the freedom of their own response to them.

Novels aren't pedagogical instruments, or instructions in law or physics or any other discipline. A novel has to be an emotional experience, a trip of the imagination, and because science has raised so many issues that concern and affect humans, it's a good starting place for me.

While the web is very much the first draft of history, a rough-cut, it still has to be good journalism, well-sourced, reliable. Clearly, the printed form is going to have more effort put into it, going to be more reflective and relevant.

I think everyone's experience with a terminal disease is so deeply personal and unique to the person, the context in which they're living and the relationships that they have.

At least I want to be making films that are somehow born out of me that are stories I want to tell. The challenge is figuring out how to do it where you can make them personal, yet still deliver to an audience a film experience that is satisfying and emotional, and that's what I'm trying to do.

I believe people can have a profound experience by being surrounded by something beautiful - that's what I aim for. My sculpture is about the way you feel when you're standing under it and inside it. It's experiential art.

I did television for a very long time, but if you're on television, words don't count. What the eye sees beats the words. If you switch sides, from radio to television, you learn that the wordiness that you learn on the radio is useless or not nearly as powerful, and you have to learn to trust that the eye will just beat the ear.

It's like fiction - the fact that somebody's telling you a story about people who didn't exist doesn't make the experience of the story any less real in your heart and mind. You go through heavy emotional responses to these stories, and wrestling is a similar thing - but it's happening in real space.

It's wonderful when music is intellectually stimulating. But ultimately it has to be a visceral experience.

Pictures have a lot more power than text. Text is just a bunch of little symbols. You have to actually read it and imagine it, and even that can be censored. With pictures, it's a lot more immediate.

Dramatic experience is not logical; it may be subdued to the kind of coherence that we indicate when we speak, in criticism, of form.

I've never worked in advertising - my experience was as an editorial designer for magazines - but you could say, in the bigger picture, that magazines are vehicles for colour advertising.

Part of the reason I wanted to write a novel was that in fiction I could do something that's difficult to do in real life, which is to dwell on the stark details of the experience without really needing to create that narrative of redemption.

My company is known for being funny as well as moving. You get a bit of everything in these shows. I think people know they're going to have a surprising experience.

TV's job is to make you lean in, and a film's job is to make you lean back.

Virtual reality is already affecting people on an emotional level much more than any other media, and it has the potential to scale: all you need is an attachment for your cellphone, and you can have this experience.

The pop-music video is one of the most powerful communication tools we have. Most people have access to a phone, and you can click a video and absorb it in three minutes. If it's potent enough, you can take in the message or have some sort of experience in multiple dimensions, the music with the image.