My visuals are typically very powerful. The rhythm is fast. The cuts are fast.

I often wonder when I make a film - I'm thinking of making a film of the Buddha - and I often wonder: If Buddha had all the elements that are given to a director - if he had music, if he had visuals, if he had a video camera - would we get Buddhism better?

For me, visuals are as important as the music. I just love escapism and giving people something to escape to. To me, that's what art is.

I don't want to be entertained. I don't want visuals or musicals. I don't want a vacation. I don't want to quit. I don't want sympathy. The cry of my heart is 'Just Give Me Jesus.'

When I started producing, it was George Abbott directing and he would let me do the scenery. He just wanted to know where the doors were - the entrances, the exits; the tables, the props - and then I would hire the designer. I took charge of the visuals - scenery and costumes and so on. And, the shows looked wonderful.

My favorite films, I would put my answering machine up to the television set and hit record. I'd tape my favorite movies and then I could go back and listen to them again. I only had the soundtrack, I didn't have the visuals. But I think it made me really pay attention to the soundtracks.

Network television is all talk. I think there should be visuals on a show, some sense of mystery to it, connections that don't add up.

I think songs and visuals are so evocative of each other.

You have to give directors and cinematographers a word blueprint for visuals, but I had to learn that from experience.

What really surprised me was that we had released the song 'Kondoram'... without any video and it still garnered so many views. The song had only lyrics and no visuals.

The poetry and transgression that was so much of surrealism's anarchic force has been recruited into mainstream culture. It has been made commonplace by television and magazine merchandising, by computer games and Internet visuals, by film and MTV, by the fashion shoot.

I always liked the visuals to be choice and at the same time minimalist. And, I love black boxes. After all, that's what theatre is, it's an empty space, and it's both limited and unlimited because the space is the space, but what you can do with people's imaginations is really endless.

A lot of the films now are more focused on the visuals than on the actors. I think all directors should go to drama school.

I've always been super into photography and the visuals that support my music.

Cinematography speaks to everything that women do inherently well: It's multitasking, it's empathy, and it's channeling visuals into human emotion.

I used to be very controlling with visuals and editing, and I would pretty much craft the performances; now I have learned to trust the material and the actors.

I feel it's my job as the artist who is making the music to pair it with visuals that I see in my head while writing the music in the first place.

Everything about video games has changed. The writing, the acting, the visuals, obviously - everything has gone to a new level. And the difference that I see as an actor is that I don't have to push that extra bit to sell what's going on.

I do this sort of thing where, even for my own shows, I like to supply my own fingerprint of creativity. Not just ideas, technical things: offering model data, creating visuals for my stage show myself, babysitting renders, learning that technology as I go. That's what makes me feel like an artist.

It's about the characters, it's about the film, it's about the process of making stunning visuals and a huge, epic movie. It doesn't matter if my head was covered in a black plastic bag and I was bouncing around in a space hopper: That's the villain of Chris Nolan's 'Batman!'