Julian Barratt Quotes

It's in the eyes, mostly. Don't listen just to the other actor's lines. Look at - and listen to - their eyes. That's where the emotion comes through.

It turned out to be exactly that, but more challenging emotionally. I looked at it in a more physical way, having to act in a chair and move around. But it really was more emotionally challenging.

Music has its own emotional embodiment. It carries an emotion with it. When you associate a lyric with the music, it's much easier; but when you're standing there completely dry in front of the camera with no musical background, just a fine-tuned, get-this-emotional-story across, it's a very, very intense kind of focus.

I actually find it harder to act in the scenes where there's not much happening, say having a milkshake in the diner. That is far harder to do than straight scenes where there's a drama going on and you have something to do.

Modeling is great because I don't have lines to memorize. But I find acting much more challenging - which is a good thing!

The provocation with Holmes is the fact that he's described by Doyle as a man without a heart - all brain... and that's very difficult to play, or even indicate.

In my years of acting, the one thing I was never able to do convincingly was to laugh on camera. Fake-laugh.

It's a good challenge as an actor to express feelings without saying too many words.

It's easy for me to play bad guys because it's a very linear acting. Bad guys aren't empathetic. Being a bad guy is great because you're not friendly and you don't have to do much with your face.

As actors, when we keep working every day, after a point of time, we just know all our emotional cards and how to play them.

Indian actors know how to shout with the eyes.

It's much easier, for example, to play a heroin addict and you're withdrawing - you tear the ceiling off - that's much easier than it is to come in and say, 'Hello.' Or, 'I love you'. When you judge it in that way, the heavy isn't as difficult.

The actor must know that since he, himself, is the instrument, he must play on it to serve the character with the same effortless dexterity with which the violinist makes music on his. Just because he doesn't look like a violin is no reason to assume his techniques should be thought of as less difficult.

It's very hard to be a good actor, you know. It's easy to be cute.

Maybe I'm a glutton for punishment, but I enjoy anything where you get to flex your acting muscles, you get to really go for it.

Obviously, as an actor, when you re playing a real person, it is an extra challenge.

My face moves, unlike some actors' do. I guess it's kind of a response to what's happening internally.

When someone is suffering, you have to see this in the body and the face. I say all the time that actors use their bodies like objects of war.

When I see an emotion being enacted by a great actor, I always feel I can never do that.

If I had to say the secret recipe for acting melodrama, I think it comes from myself in real life. I have a belief that when I do melo scenes, I try to make them less cheesy.

When I work with actors, we try to tune the instrument so that you can feel things and allow those emotions to wash through you. You allow the fear to happen, and then you react and you listen without trying to get too absorbed into the actual end mark that you're supposed to hit.

When you go into the realm of a double role, you have to take it to another level to make it believable.

Anytime people see an emotion that is not extremely emotional, they call it 'deadpan.'

You know in acting you have those moments in a movie where a character yells or breaks down crying and you're like, wow, that's acting?

When an actor sings a song, he will be able to bring forth the emotion in it much better than a playback singer.