quote by Saul Bass

My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.

— Saul Bass

Superior Viewer quotations

My botanical documents should contribute to restoring the link with nature.

They should reawaken a sense of nature, point to its teeming richness of form, and prompt the viewer to observe for himself the surrounding plant world.

The best images are the ones that retain their strength and impact over the years, regardless of the number of times they are viewed.

The Iraq War marked the beginning of the end of network news coverage.

Viewers saw the juxtaposition of the embedded correspondents reporting the war as it was actually unfolding and the jaundiced, biased, negative coverage of these same events in the network newsrooms.

I didn’t want a completely passive viewer.

Art means too much to me. To be able to articulate something visually is really an important thing. I wanted to make work where the viewer wouldn’t walk away; he would giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful

I think "Heroes of Cosplay" will show a lot of the positive things, like how much effort it takes to make a costume. These people on the show aren't taking shortcuts. As long as that effort gets through to the viewers, we will be inspirational. Then there will be people who watch the show that want to get in and hands-on make outfits.

It is necessary to recover the primeval force of the shock taking place at the moment when opposite a man (the viewer) there stood for the first time a man (the actor) deceptively similar to us, yet at the same time infinitely foreign, beyond an impassable barrier.

I don't really think that the technique really determines the veracity of the image. It's what the image does to the viewer that determines whether it's right or wrong.

Prison Break is so far-fetched, I had to make viewers believe that Michael is capable of making the impossible possible.

The still must tease with the promise of a story the viewer of it itches to be told.

A good photograph is one that communicates a fact, touches the heart and leaves the viewer a changed person for having seen it. It is, in a word, effective.

Viewers all over the world, whatever medium you are using to view us, on Emmanuel TV, Facebook, YouTube, Twitter, I command a new dream to come true, in Jesus' name!

Laughter on American television has taken the place of the chorus in Greek tragedy. In other countries, the business of laughing is left to the viewers. Here, their laughter is put on the screen, integrated into the show. It is the screen that is laughing and having a good time. You are simply left alone with your consternation.

The viewers must come to understand the sacredness of painting, so they will remove their hats as if they were in church.

I always try to make work that activates the viewer to be a co-producer of our shared reality.

In the United States, viewers don't get to see a lot of things we can show in other countries. We didn't get to show our naked Twister game from Wild On Jamaica, but we definitely filmed it.

The Food Network and the Cooking Channel have so many viewers.

And, because there's no violence, some of that audience is children. So, I think we have a responsibility to educate parents how to produce healthy meals for their families.

But Angela had at least 30% more viewers on the same night at the same time.

I mean, she wiped everybody out. But the sponsors don't care when she had the most people. They only care about if there was only a handful of young viewers on the other one.

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.

Through a portrait, we can potentially see everything — the history and depth of a person's life, as well as evidence of a primal universal presence. I have dedicated my life and creative energy to capturing these transcendent moments in which a connection is made between the subject, the photographer, and the viewer.

What exactly is 'viewer discretion'? If viewers had discretion, most television shows would not be on the air.

When a scene is shrouded in mist, it seems greater, nobler, and heightens the viewers' imaginative powers, increasing expectation - like a veiled girl. Generally the eye and the imagination are more readily drawn by nebulous distance than by what is perfectly plain for all to see

The viewer brings something individual to the experience of any artwork.

The hidden child wants to be able to participate and to co-create in art, rather than being simply an admiring viewer.

There are always two people in every picture: the photographer and the viewer.

One who returns to a place sees it with new eyes.

Although the place may not have changed, the viewer inevitably has. For the first time things invisible before become suddenly visible.

For me, the subtlety of black and white inspires the imagination of the individual viewer to complete the picture in the mind's eye. It doesn't attempt to compete with the outside world. I believe it is calmer and gentler than colour, and persists longer in our visual memory.

I believe all painting and art should be uplifting for the viewer.

The viewer who sees only a study in the picture of the glass jug illuminated from behind fails to appreciate the masterly composition, the noble purity of the lines, the rich plasticity of the form and consequently also the poetry and beauty of the picture, and still more important, its specifically photographic qualities.

I think you always have to find where the boundary is in relation to the context in order to be able to kind of articulate how you want the space to interact with the viewer.

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.

Confusion and clutter are failures of design, not attributes of information.

And so the point is to find design strategies that reveal detail and complexity - rather than to fault the data for an excess of complication. Or, worse, to fault viewers for a lack of understanding.

Violence is so terribly fast . . . the most perverse thing about the movies is the way they portray it in slow motion, allowing it to be something sensuous . . . the viewer's lips slightly wet as the scene plays out. Violence is nothing like that. It is lightning fast, chaotic, and totally intangible.

There's quite obviously the desire to open the rule sets that allow for inclusion or disclusion. I think that my hope would be that my work set up certain type of precedent, that allowed for great institutions, museums and viewers to see the possibilities of painting culture to be a bit more inclusive.

In fact, my entire childhood consisted of looking at photographs in which the viewer sees the ball behind the line, looking through the goal net, and the poor goalkeeper in front of the net.

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