Nixon's shifty eyes and perpetual 5 o'clock shadow made him a natural fit for caricatured villainy.
One of the reasons why I think virtual reality, as a narrative format, is never going to go beyond the short-form immersion space is because the bedrock of visual storytelling is the reverse angle. If you can't look into the eyes of the protagonist, you cannot hold people's attention for more than 15 minutes.
You are a victim of your own neural architecture which doesn't permit you to imagine anything outside of three dimensions. Even two dimensions. People know they can't visualise four or five dimensions, but they think they can close their eyes and see two dimensions. But they can't.
By visualizing information, we turn it into a landscape that you can explore with your eyes: a sort of information map. And when you're lost in information, an information map is kind of useful.
I like visualizing a lot, so the night before a competition and right before, I will visualize myself. I'll close my eyes, turn away from everybody, and just see myself doing exactly what I want to accomplish.
My grandfather was a voodoo priest. A lot of my life dealt with spirituality. I can close my eyes and remember where I come from.
Most women say 'Please speak to me from the waist up: my brain, my eyes.'
My mom's an artist in every way. She's a painter, a photographer. She's a wanderer - always searching, always seeing. I guess you could say my mom gave me her eyes.
What works with your skin and eyes? Use that to zero in on your wardrobe.
A man with a mouth like a mastiff, a brow like a mountain, and eyes like burning antracite - that was Dan'l Webster in his prime.
Oh, I am very weary, Though tears no longer flow; My eyes are tired of weeping, My heart is sick of woe.
My hair used to be real long, and my parents were encouraged when I cut it. They thought I was going 'straight,' but I was just getting weirder - at least in their eyes. I was getting into the punk thing.
I used to get stuck trying to find the first sentence of a story, then I realised that it was often because I didn't know what problem a character was facing in the story. As soon as I did, I could have the character trying to do something about it or have the problem whack him between the eyes.
Between his eyes, there were four lines, the marks of such misery as children should never feel. He spoke with that wonderful whisky voice that so many Spanish children have, and he was a tough and entire little boy.
I like to feel the burn of the audience's eyes when I'm whispering all my darkest secrets into the microphone.
Our holiness is an effect, not a cause; so long as our eyes are on our own personal whiteness as an end in itself, the thing breaks down.
We need to see, and agree that what we seek already lives within us, and we within it. Now we know our one great task: watch for whatever promises us freedom, and then quietly, consciously refuse to see ourselves through the eyes of what we know is incomplete. Then we live wholeness itself, instead of spending our lives looking for it.
Does not a man physically tremble under the mere look of a wild beast or fellow-man that is stronger than himself? Does not a woman redden all over when she feels her lover's eyes on her? How then should one doubt the mysterious power of one individual over another?
I wanted to tell a dream-come-true story about going from a closeted gay kid who loved pop culture to an out adult man making pop culture. I went from being told when I was 21 that I should never go on TV because of my crossed eyes to winding up being a 'Housewives' whisperer and talk-show host.
I like to pour my wines for people. I watch their eyes, I can see what they'll like. Most people say they don't like dry wine because they haven't had a dry wine that's clean and fruity, instead of a big, oaky thing.
