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But you can still find good films if you read your local film critics and are willing to drive a bit. You have to be a proactive film viewer to have the most provocative cinema life.
It is one of the primary motives of modern art that it wants to abolish the distance which the viewer, the consumer, the audience maintain vis-a-vis a work of art.
Basically, what you really want to do is try to engage the viewer's body relation to his thinking and walking and looking, without being overly heavy-handed about it.
The viewer must bring their own view to a photograph.
What I learned, a little too late, was that the 'traditional' Martin Short target viewer weighs under 300 pounds. Unfortunately, I was on during daytime.
Series finales have that responsibility to leave you feeling good about entire series. You want to feel like the viewer closes the book satisfied. And if you strike out on the finale it skews how you feel about the entire series.
I often concentrate on the eyes and lips, they are great indicators of mood and feeling, and I find that I can project character into my portraits by bringing the viewer's attention to these areas.
Art really is something very difficult. It is difficult to make, and it is sometimes difficult for the viewer to understand. It is difficult to work out what is art and what is not art.
It's certainly anyone's prerogative to say, 'I liked something more when it was this' or blah blah. But there's a kind of laziness as a consumer of entertainment, I think, to wish that something was repeating itself and doing the same thing. But to each their own, and I do it all the time. I've dropped television shows as a viewer.
I'm thrilled to continue the tradition of the spectacular, cinematic, horrifying, exciting and emotional storytelling of 'The Walking Dead.' I'm a huge fan of the comics, and started with the show on the other side of the set, as an avid viewer.
Scott M. Gimple
For me, photography is not just about exposing film, it's about exposing the viewer to something new, a place they haven't gone before, but most importantly, to people that they might be afraid of.
iO Tillett Wright
I look at graphic design as communication, meaning that the work has to have a vibe to connect to the viewer or perceiver. I make a black and white drawing and then add color digitally, bringing in a contemporary pattern to the composition to create a vibrance.
John Van Hamersveld
So, in other words, how you respond to a sculpture, how a viewer sees the sculpture, is vital.
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.'
It is not an aesthetic misstep to make the viewer aware of the paint and the painter's hand. Such an empathetic awareness lies at the heart of aesthetic appreciation.
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.
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.
Every role is physical to a certain extent, but as a viewer, I don't respond well to actors doing more than they need to tell a story.
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.
You can manipulate the viewer in film. With theater, what you see is what you get.
Marcia Gay Harden
A viewer who skips the advertising is the moral equivalent of a shoplifter.
I always like to believe that my work is about the expansion of the possibilities of the viewer. So if you have a sense of a heightened situation where there's an excitement, a physical excitement and an intellectual stimulation, there's just this sense of expansion. Because that's where the art happens. Inside the viewer.
I am very conscious of the viewer because that's where the art takes place. My work really strives to put the viewer in a certain kind of emotional state.
The real change that paintings undergo is in the perceptions of the viewer.
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