Visual Experimentation Quotes

I photograph to find out what something will look like photographed.

It's hard to get a film, you know, you need a very special film to be able to get that experimental. But, I would love to see that happen. I would love the opportunity to be more experimental than I am.

I said, I don't want to paint things like Picasso's women and Matisse's odalisques lying on couches with pillows. I don't want to paint people. I want to paint something I have never seen before. I don't want to make what I'm looking at. I want the fragments.

We're quite into graphics that are simultaneously two- and three-dimensional. But I can't really elaborate any further because it's not something - we haven't really perfected it.

I want to see abstract art move. Especially in the '30s, you had animators doing innovative work, and I was entranced by that. It's basically what you see when you close your eyes, when you fall asleep.

For me, the question was, how can one take a live-action performance and put it in the parameter of one of those cartoons? How much can you get away with?

When I see the first dailies on any movie, I usually feel that I had no idea how this combination of ingredients was going to mix together, what it was going to produce.

I am very impulsive when it comes to experimenting with my looks and love playing with ideas by involving people from all walks of life.

I stick the collages on the wall and, if I still like them after a month or two, I make a painting.

They said 'if you have a 3D movie, we'll buy it' because they want it. For maybe two weeks I really thought of a silent, black and white 3D movie and I thought it could be great. I imagined it as a very special image, a very new image, but fortunately, I didn't have to do it.

I think laying out a beautiful picture in a beautiful way is a bloody bore. I think you've got to blow it right across the page and down the side, crop it, cut it in half, combine it with something else... do something with it. You've got to make something out of it.

A lot of the stuff in 'Speed Racer' has never been done before, from it having a multi-tone, to it having a retro-cool family movie, to having the photo-realism with the CG-backgrounds and infinite focus the way they worked with these digital cameras, to even the color experimentation.

You can really shoot things you think might work on camera one way, then you can try it that way, and then if you think it could also work another way, you have that luxury of shooting a bunch of different steps, and then they can decide in editing what works the best.

In the simplest sentence, I photograph to find out what something will look like photographed. Basically, that's why I photograph, in the simplest language. That's the beginning of it and then we get to play the games.