Visual Detail Quotes

Michael Jackson was the biggest star the world has ever seen - he put so much into everything; a lot of attention to detail. I want to do that. I want to pay that kind of attention to detail in everything - in music, visually - all of that.

I didn't want people to sit there and watch 10 minutes of film, and all they write about is 48 frames.

Really good writing, from my perspective, runs a lot like a visual on the screen. You need to create that kind of detail and have credibility with the reader, so the reader knows that you were really there, that you really experienced it, that you know the details. That comes out of seeing.

The mask of the character was already written into the show, but I actually lobbied for a denser and more complete mask than they initially considered.

What I do not like, the kind of high-resolution cameras, 4K, 6K, for shooting dialogue, for having faces and close-ups of actors, and you see every single pore in the skin.

The less the camera is able to capture what you're seeing in a scene, the more editing it needs.

The first time I worked with colors was by making these mosaics of Pantone swatches. They end up being very large pictures, and I photographed with a very large camera - an 8x10 camera. So you can see the surface of every single swatch - like in this picture of Chuck Close. And you have to walk very far to be able to see it.

What difference does it make whether you're looking at a photograph or looking at a still life in front of you? You still have to look.

I can't do fiction unless I visualize what's going on. When I began to write science fiction, one of the things I found lacking in it was visual specificity. It seemed there was a lot of lazy imagining, a lot of shorthand.

The man who can see all gray, and red, and purples in a peach, will paint the peach rightly round, and rightly altogether. But the man who has only studied its roundness may not see its purples and grays, and if he does not will never get it to look like a peach; so that great power over color is always a sign of large general art-intellect.

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

The beginnings and ends of shadow lie between the light and darkness and may be infinitely diminished and infinitely increased. Shadow is the means by which bodies display their form. The forms of bodies could not be understood in detail but for shadow.

The camera sees more than the eye, so why not make use of it?

I guess if I was made responsible for every single line of dialogue in a game and every single piece of textual visual detail, every sign or piece of graffiti, then yes, I think that would be comparable to the time and effort required to write a very long novel, indeed.

There are forms that can only be seen when you are near a painting, others only appear when you are far away.

When I'm writing, I am concentrating almost wholly on concrete detail: the color a room is painted, the way a drop of water rolls off a wet leaf after a rain.

The close-up has no equivalent in a narrative fashioned of words. Literature is totally lacking in any working method to enable it to isolate a single vastly enlarged detail in which one face comes forward to underline a state of mind or stress the importance of a single detail in comparison with the rest. As a narrative device, the ability to vary the distance between the camera and the object may be a small thing indeed, but it makes for a notable difference between cinema and oral or written narrative, in which the distance between language and image is always the same.

What the human eye observes casually and incuriously, the eye of the camera (the lens) notes with relentless fidelity.

My drawings at first were made altogether in watercolors, but they wanted softness and a great deal of finish.

Enormous morning, ponderous, meticulous; gray light streaking each bare branch, each single twig, along one side, making another tree, of glassy veins.

Everything I do, I do it with the hope that people will watch it more than twice. Whether it's 'Pan's Labyrinth' or 'Pacific Rim' or the opening of 'The Simpsons,' I do it with that hope.

I think the resolution involved in the high-def, Blu-ray image demands we pay attention to every detail to a level we've never seen before. The audiences have to believe everything they're seeing. As viewers, we're all so experienced and so much smarter than we realize. With Blu-ray, there will be less tricking of the eye.

He wore a white shirt with the sleeves rolled up to the good place, and a heart-shaped leaf lay trapped in the hollow if his throat as though it were planned, though of course it was so perfect it couldn't have been planned.

A game like 'Myst' may be a gorgeous slide show that preserves its beauty at the expense of speed. A game like 'Doom' sacrifices almost everything for action. But the eye soon adjusts: the degree of detail more than adequately conveys infinite claustrophobic labyrinths populated by howling monsters.