I learned just recently, in fact, that a lot of people who read do not form a visual image from what they're reading. They just don't. They follow the events and get the resonance with the language, but they have only a vague, general idea of what the characters look like.

I think setting a goal, getting a visual image of what it is you want. You've got to see what it is you want to achieve before you can pursue it.

A visual image in the hand of an artist is merely a tool to trigger a mental image.

I know that everyone who listens to radio creates you in a visual image that they need you to have. Whatever that is, I thought, let them have it. Let me be who the listener needs me to be and let me not contradict that with the reality of my photograph and risk disappointing them.

I watch a couple of fights to get a visual image in my head. I don't like doing a lot of research on my opponents; I leave that to my coaches.

It's much easier to consume the visual image than to read something.

I can hear you and I can watch your mouth move, and then I put together the sounds and the visual image, and I can understand the words as I integrate the two signals.

Everything I try to do wants to be able to push communication through the notion of the visual image.

Around the time I began starving, in the early eighties, the visual image had begun to supplant text as culture's primary mode of communication, a radical change because images work so differently than words: They're immediate, they hit you at levels way beneath intellect, they come fast and furious.

Film fixes a precise visual image in the viewer's head. In fiction, you just hope you're precise enough to convey the intended effect.

Unlike any other visual image, a photograph is not a rendering, an imitation or an interpretation of its subject, but actually a trace of it. No painting or drawing, however naturalist, belongs to its subject in the way that a photograph does.