With a short lens I can reveal the hidden things near at hand, with a long lens the hidden things far away. The telephoto lens provides a new visual sensation for people: it widens their horizons. And, conversely, the things under our nose invariably look good when blown up really big.
Hundreds of years ago, Indian artists created visual images of dancing Shivas in a beautiful series of bronzes. In our time, physicists have used the most advanced technology to portray the patterns of the cosmic dance. The metaphor of the cosmic dance thus unifies ancient mythology, religious art and modern physics.
No other creative field is as closed to those who are not white and male as is the visual arts. After I decided to be an artist, the first thing that I had to believe was that I, a black woman, could penetrate the art scene, and that, further, I could do so without sacrificing one iota of my blackness or my femaleness or my humanity.
There is something evocative about the idea of destruction. This act of destruction is the expression of an idea. . . that what we call reality is not real at all. When I draw a head, for example, I immediately feel an urge to destroy it, to erase it, because the drawing only captures an outward appearance, and for me the vital issue is what lies behind the visual form of the head.
There was a beauty in the trash of the alleys which I had never noticed before; my vision seemed sharpened, rather than impaired. As I walked along it seemed to me that the flattened beer cans and papers and weeds and junk mail had been arranged by the wind into patterns; these patterns, when I scrutinized them, lay distributed so as to comprise a visual language.
The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.