Visual Dialogue Quotes

I just love the whole idea of conversational prints.

I've never made a film using dialogue or speech.

I love the interplay between words and pictures. I love the fact that in comics, your pictures are acting like words, presenting themselves to be read.

I discovered that silent film is almost an advantage. You just have to think of the feeling for it to show. No lines pollute it. It doesn't take much - a gaze, an eyelash flutter - for the emotion to be vivid.

One drawing demands to become a painting, so I start to work on that, and then the painting might demand something else. Then the painting might say, 'I want a companion, and the companion should be like this,' so I have to find that, either by drawing it myself or locating the image.

The goal of art-making in general is communication.

I go through the arc of a relationship with every single painting that I do.

I'm really interested in the form, putting one piece up against another and finding something corroborative in another voice. I've done a lot of that.

I don't go into the studio with the idea of 'saying' something. What I do is face the blank canvas and put a few arbitrary marks on it that start me on some sort of dialogue.

I didn't quite realise until we started to put together our first cut of 'Wonderstruck' how much time is spent with no words spoken whatsoever.

When I take a black-and-white portrait, it's not particularly meant to please you. It's meant to talk to you; it's meant to shame you. It's meant to scream out at you, and it has a message.

Art is meant to bring people together. It's meant to raise consciousness.

For me, every photograph is a portrait; the clothes are just a vehicle for what I want to say. You're photographing a relationship with the person you're shooting; there's an exchange, and that's what that picture is.

Public art is a unique type of art. It's very different to gallery art because it is something that we pass by every day and it inevitably creates a lot of discussion in a way that gallery art does not.

Painting is a language which cannot be replaced by another language. I don't know what to say about what I paint, really.

When I was going to school and under the influence of Abstract Expressionism, I believed that if you had a give-and-take rapport with your work that it would be you, and that would be all that was required. It would be honest, and the core of your personality would come out if you responded to position and contrasts in your work.

Usually in theater, the visual repeats the verbal. The visual dwindles into decoration. But I think with my eyes. For me, the visual is not an afterthought, not an illustration of the text. If it says the same thing as the words, why look? The visual must be so compelling that a deaf man would sit though the performance fascinated.

I'm going to make a film where not one word is really important. I'm going to make it all action.

In a sense, I think a movie is really a little like a question and when you make it, that's when you get the answer.

It's about storytelling. The story is told through images. So with the cast, I had to make sure that the emotions were readable without sound... I know some great actors, if you turn off the sound, you don't really know what they're saying.

In my earlier paintings, I wanted the space between the picture plane and the spectator to be active.

I think if you watch most of my films with the sound off, you could still tell what's going on.

I understood that synergistic dance between photographer and object - 'muse,' if you will, 'model,' whatever you call us. It's that silent language of communication, like being psychic with each other.

That's the test of street art - to see if anybody stopped. People would cross out ones they didn't like and would star others. I liked that people would engage with them.

The transactions between me and the people that I photograph are very, very collaborative.