Visual Creation Quotes

I have been drawing and creating visual works my entire life, as long as I can remember.

If you want to add visuals to your blog posts, presentations or whatever it is, and you're as bad at drawing as I am, I think tracing photos is a good place to start.

In fact, the difference between creative and interpretive, it all starts with the writing. Then if you can get the money together to make the film, then you're in touch with the visuals and the actual creation, and the sound of what you want to mean. Of course, some directors get inspired by what people do anyway. Don't feel the need [to stick to the script]. In fact, they sometimes go "That's not what I had in mind, but that suits the purpose well.".

A photograph comes into being, as it is seen, all at once.

In front of the camera I look and I see visually what I've created.

There's something fascinating about watching artists draw.

Usually I commit to something in my head and then I start drawing.

The science of design, or of line-drawing, if you like to use this term, is the source and very essence of painting, sculpture, architecture... Sometimes... it seems to me that... all the works of the human brain and hand are either design itself or a branch of that art.

I think the biggest difference is in live action, you show up, and there's a set there and a ground to stand on, at least, and in animation, there's kinda nothing. You are making decisions on everything.

I don't really believe in the mystery of cinematography - what happens in the camera is what the cinematographers create and all that nonsense.

When I make my drawings... the path traced by my pencil on the sheet of paper is, to some extent, analogous to the gesture of a man groping his way in the darkness.

I really loved taking photos when I was younger. I think my love for photography sparked my love for creating the visuals to support my music.

I am just trying to find a way to make pictures.

In the first earthquake scene [ in "2012"], there was only a limo and a plane. That was it. There was nothing else there, so everything had to be created in the computer, and that's always very difficult.

When you're directing, you see your ideas. You see them created right in front of you on the monitor and the sound stage. You get that experience all over again when you get into the editing room and you start playing with it.

In putting images together I become active, and excitement is of another order - synthesis overshadows analysis.

The writing is hard, and the drawing is fun. It's very satisfying to see a drawing start to come together.

The art of pictorial creation is so complicated - it is so astronomical in its possibilities of relation and combination that it would take an act of super-human concentration to explain the final realization.

A photo is a creation.

The great thing about the animation process is that is goes from, I write the lines, it goes to the actors, the actors bring a whole world to that, they bring the characters to life, then it goes to the animators, then it goes to the editor who cuts it together, and then you screen it and it goes back through the system again.

I love producing! It's so much fun to start with a blank canvas and create the picture you want to create and see it all come together.

So when I looked at pictures and produced my calendar and edited the pictures, it wasn't just about looking at myself and thinking I'm attractive. I try to take myself out of it and get into the whole process of putting it all together.

I always say I make pictures rather than take pictures.

I've been interested in art and fashion for as long as I can remember because they are so visual. I am fascinated by the idea of visual creation from the ground up, which is a challenge in ballet when the audience has seen every show of yours, every other principal that you've shared a role with, and every different production.

My works look to how images are produced, but specially based upon how the material reacts.