Quote of the Day
There are always two people in every picture: the photographer and the viewer.
As a viewer, the minute I start getting confused, I check out of the movie. Emotionally, I'm severed.
Pictures artists staged their own images or copied or cut out others already in existence. The viewer took them in separately, in sometimes paradoxical waves: an original image, then the manipulations of it, then the places where image and idea intersected. This created a crucial perceptual glitch that irony and understanding filled.
The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer's journey, shifts the emphasis from process to product, and lacks individuality and openness. It's not that art should be seen only in rutty bombed-out environments, but it should seem alive.
One of the reasons why you like to do your own drawings is, your style changes over time. And there's something about that that keeps it fresh to the viewer.
The better the coverage, the more discriminating the viewer.
In the voyeurism of Reality TV, the viewer's passivity is kept intact, pampered and massaged and force-fed Chicken McNuggets of carefully edited snippets that permit him or her to sit in easy judgment and feel superior at watching familiar strangers make fools of themselves. Reality TV looks in only one direction: down.
A viewer who skips the advertising is the moral equivalent of a shoplifter.
I think romance is a tool, comedy is a tool and drama is a tool. I really just want to tell stories that challenge the viewer, move people, make you laugh, perhaps push an idea about being open-minded but never settle on a genre or an opinion. I hate genre. I like movies that are original in their approach.
A woman doing comedy doesn't offend me, but sets me back a bit. I, as a viewer, have trouble with it. I think of her as a producing machine that brings babies in the world.
The real change that paintings undergo is in the perceptions of the viewer.
All movies assault the viewer in one way or another.
At its best, film should be like a ski jump. It should give the viewer the option of taking flight, while the act of jumping is left up to him.
I've come to recognize what I call my 'inside interests.' Telling stories. And helping people tell their stories is a sort of interpersonal gardening. My work at NBC News was to report the news, but in hindsight, I often tried to look for some insight to share that might spark a moment of recognition in a viewer.
Ratings have changed, viewer habits have changed and the options for the audience have grown enormously, but I don't think how you tell a story is fundamentally different.
J. J. Abrams
The fear for a network is the viewer gets tired of you. Not that you lost any credibility, but they get tired of you.
I didn't really want to do another sequel. I go to those movies, and I just sort of enjoy them like a viewer.
I write for somebody who has my own limitations. My reader has a certain difficulty with concentrating, which in my case comes from being a film viewer.
I have great faith in the intelligence of the American viewer and reader to put two and two together and come up with four.
I guess I'm trying to write stuff that I, as a viewer, would connect to.
All we do is bring the debate from both sides, and let you as a viewer decide where you want to end up on the issue. That's very important. That's exactly what happens in 'Redemption Inc.'
Films that are entertainments give simple answers but I think that's ultimately more cynical, as it denies the viewer room to think. If there are more answers at the end, then surely it is a richer experience.
I think it's a little simplistic to explain a work through the psychology of its author. In other words, that Haneke has emotional problems, so I don't have to take his films seriously. By using this argument, the viewer retreats from the challenges of the film.
One doesn't make art for other people, even though I am very concerned with the viewer.
The work itself has a complete circle of meaning and counterpoint. And without your involvement as a viewer, there is no story.
There's something imminent in the work, but the circle is only completed by the viewer.
I find as a viewer, when I go to see comedies, the strain to be funny throughout the whole thing. I start to lose my sense of reality, and it ends up feeling like an empty experience; there's funny stuff in it but I've lost the emotional connection to the characters because it's just so bananas.
With Frat House, at times I needed to make music that would reflect what these fraternity brothers might actually listen to, but still keep it within the realm of a score; it still had to lead the viewer through the scene, or just help create the mood.
But I don't think of any particular viewer in mind other than myself.
The still must tease with the promise of a story the viewer of it itches to be told.
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C. S. Lewis
John F. Kennedy
Martin Luther King, Jr.
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