Visual Rhythm Quotes

There's two aspects of film crafting that I'm very strict about, and that's how I move my camera and where I cut the film.

The rhythm of relations of color and size makes the absolute appear in the relativity of time and space.

In Degas's compositions with several dancers, their steps, postures and gestures often resemble the almost geometric, formal letters of an alphabet, whereas their bodies and heads are recalcitrant, sinuous and individual.

Proportion is that agreeable harmony between the several parts of a building, which is the result of a just and regular agreement of them with each other; the height to the width, this to the length, and each of these to the whole.

When you're writing TV or movies your vernacular is time, it's all based on rhythms, a character takes a beat or two characters have a moment, like everything is about time. And when you're writing a comic, everything is about space. It's how many panels to put on a page, when should you do a full page splash, what is the detail that you see in any particular image.

In editing, it's amazing how you choose the in and out points. What you cut on is everything for creating tension. It's amazing how expanding a shot by five seconds can just ruin the tension.

Cartooning isn't really drawing, any more than talking is singing... The possible vocabulary of comics is by definition unlimited, the tactility of an experience told in pictures outside the boundaries of words, and the rhythm of how these drawings 'feel' when read is where the real art resides.

I'm not a fan of these very cutty, handheld-y kind of films or TV shows, where a cut is just every half second or every two seconds, where you're desensitized to it. To me, a cut should say something and be impactful.

The essence of cinema is editing.

For me, shooting, editing, and scoring rely on rhythm.

But what I attach great importance to is observation of the movement of colors. It is only in this way that I have found the laws of complementary contrast and the simultaneity of those colors that nourish the rhythm of my vision. There I find the representative essence — which does not arise from a system or an a priori theory.

And the camera position, the organization, looking for repeating forms, shapes, trying to set up a visual rhythm seemed to come very natural. All of a sudden I was in a forest of aluminum and steel rather than a forest that we might think of in a traditional sense.

First of all, I always see the sun! The way I want to identify myself and others is with halos here and there halos, movements of color. And that, I believe, is rhythm.

The painting is always conceived as the linear record of a rhythmic gesture: it is a graph of a dance executed by the hand. Not only the artist's eye and hand perform this dance, so does the eye of the beholder.

When I watch films now, theres more of a musicality to the way the film are written.

In a play, you dictate pace, you dictate rhythm, you dictate when people look at you, when people should be looking at something else. In film, the editor does that.

Comic strip is almost like music on a page that you perform in your mind. It's not just pictures. There's a particular rhythm and structure to it that is unlike anything else. It literally is like music. You hear it in your mind as you read it.

Tracking action without cutting is the least jarring method of placing the audience into a real-time experience where they are the ones making the subtle choices of where and when to look.

I'm a big fan of being able to hold those long shots and use space. I don't know, I think everything's so quick cut these days, as if films are too afraid that the audience is going to get bored instead of relaxing and trusting their work.

When we design for non-Latin, we always aim to create a rhythm and texture that is sympathetic so when you have the two scripts running side by side, they create, ideally, the same tonal value on the page.

I searched YouTube for 'deaf music videos' and watched them with the sound muted. I noticed that though you could understand the words being signed, the sense of rhythm was lost. That's when I had the idea to create a video where you could see the sounds you couldn't hear.

If I can do a scene in one shot, it's in one shot. Most of my shots are pretty long. I think with 'Looking,' what we have in the first minute is a whole episode of a traditional TV show. I like to let things breathe; I like to let things have a certain tone.

It doesn't matter if you don't have a complete set of anything because repetition creates pattern, repetition creates pattern, repetition creates pattern.

A scene has to have a rhythm of its own, a structure of its own.

Filming is so much to do with rhythm, as is music, and if it isn't there then you know in the end nobody can save it really, they can't.