Visual Aesthetic Quotes

I wish I could do a black and white film.

If you ever saw All That Jazz [1979], Bob Fosse was kind of raised dancing in strip joints and the whole era of burlesque, and that form ran his visual aesthetic, the pacing and rhythm of what he did.

I have no style. There are certain people who just have a visual sense that defines their work. You could probably watch 30 seconds of anything they do and you'll know exactly who directed it. I don't have that skill.

You need these experiences. Just know that sometimes, the director has a specific look in mind.

Like everybody, I wanted to meet Andy Warhol. I was impressed by his work and how daring he was. I think he changed the cinema completely, simply by opening his camera and letting it go.

Early on, I was into David Bowie. Then someone in the band suggested I try a Bryan Ferry type of thing. That's when I started wearing three-piece suits. It wasn't unnatural for me.

I really love animation as a storytelling medium, whether it's traditional, cel animation, or CG, or stop motion, which is more our studio's area of focus. But I find that the creatives behind any kind of animation are typically very similar, and so regardless of what aesthetic they use to realize their vision, I'm usually pretty into it.

What you wear onstage is a reflection of your artistry.

My work is very serious, and I use a lot of black, too.

When I started writing the music, I wanted everything to be consistent from the way I dressed to the way I presented myself online. I wanted everything to match what I was doing on stage.

I love movies where you can tell who's directed it even before the credits roll in, like Wes Anderson or Quentin Tarantino. People who make very stylized types of film.

Looking back, my style was pretty much Marvel house style - very large, thick characters, very musclebound, not very flexible.

You always try to find the right style for the movie. That's the key.

Beauty and the Beast seemed like it all was really brown. The whole thing was just so brown and orange and yellow, like Burger King or something. I don't think I would have liked Beauty and the Beast at any age.

When you're talking about Tim Burton, you're talking about a guy that has such a visual sense, an aesthetic, a storytelling style. It's like he's got his own genre.

With the video for Boulevard of Broken Dreams we were going for something a bit like Ladykillers, you know? Pretty and demented at the same time...like me!

My personal style is very eclectic. I like graphic shapes and multiple layers.

Growing up, I was so compelled by artists whose looks were inseparable from their music. Bjork was my hero.

If I were somebody who spent the majority of my time saying things that were harsh and difficult to hear, I would want my visual aesthetic to be something soft and feminine, warm and easy to be around.

I'm really excited to see my vision for the 'British Vogue' team come to fruition.

For 'Chungking Express,' the way we shot the film was all handheld and with all this existing light, and that became very popular. Everybody thought it was cool.

I was a screenwriting and studio art major in college, so even though I don't have any training as a floral designer, I have a very particular visual aesthetic.

I always like to give and present my actors in a different look.

At the time we did 'Night,' I was a director of television commercials. Some of them cost a lot more than our whole movie. They were very slick, sophisticated... we wanted the opposite look for 'Night.' We wanted it to look like a newsreel.

[Paper Girls] needed to have a certain kind of almost neon style to it, but at the same time we wanted also to show the modern perspective that we had.