Eric Rohmer Quotes

I'm not expressing anything. I'm presenting people moving.

BoJack especially is a very dialogue based show. A lot of the comedy comes from conversations, and a lot of story comes from misunderstandings and people trying to connect with each other, and there was a really interesting challenge trying to write a script with no dialogue.

People live a lot freer in their body and their voices and their moves than people act onscreen.

It's almost better most times to not talk in a scene. I think you can actually express a lot more without words.

Usually, I'll drop twenty to forty per cent of the dialogue - you can do so much with gesture. I'm still waiting to do a silent film.

I can watch anybody all day long if they're really doing what they're doing. I have a fascination with human behavior, watching people talk, when they pick at their face or how they hold their hand or if they're listening to you, if they're not listening to you.

I can see the character in a photograph, in the way a guy stands or holds his hands, the way he buckles his belt. I fantasize a lot looking at photographs. I'm sure that doesn't work for many people.

I loved to dance because I was scared to speak. When I was moving, I could feel.

During the actual filming, I’m not really listening to dialogue. I’m watching to see if the actors are communicating something and expressing something. I’m just watching a conversation. You’re not aware of exactly what people are saying. You are aware of what they are INTENDING and what kind of feeling is going on in that scene.

They are poets of gesture.

No scene is ever about the words being spoken.

I do think how two people dance with each other is indicative of how they feel about each other. It can tell a lot more than a verbal scene.

I love watching people listen. And on film often some of the best moments if you think about favorite moments on film, often the person isn't even talking.

For many years, I did pantomime with Marcel Marceau. I was a writer for him and got to know very well how to use the body for illustration. I wanted to do a mother without arms, but using the arms of her son in Santa Sangre. The tragedy should always have something funny. Something weird.

If you cannot make moving pictures about yourself, your country and your culture, it's as if you do not exist anymore in this world of images we live in. Because now when we all switch on our smartphones or our iPads or our computers, it's all image and sound. All people and cultures must work to secure their place in the digital space. Cinema is also political in this way.

I just love feeling myself, and moving, flexing, jumping, expressing, dancing and doing movement. I'm in tune with it. I like to express myself with my body, more so than intellectually. But, I am a geek.

Art films aren't necessarily photography. It's feeling. If we can capture a feeling of a people, of a way of life, then we made a good picture.

I could depend a lot on my shaking, though I never shimmied vulgarly and only to express myself.

Words are a wonderful form of communication, but they will never replace kisses and punches.

I worked with dance a lot, for each character - different ways I could move my body, different music. It's the most fun thing in the world, because I love each and every one of the characters and I'd be happy just to play one of them, but the fact that I get to play upwards of six, seven, eight or whatever, it's a total dream.

Whether people are making narrative cinema or experimental cinematic movie experiences, they all want the biggest screen possible and the quietest room and the most attention to every nuance and detail. Obviously, most people will not see the movie that way, but I can still hope for it, and I'd like to think we will be able to pull it off this time.

As an actor, you look at some people and know if they're there with you or not.

And if you had no tongue, no celebrating language, you’d do this: cross your hands at the wrist with palms facing towards you; place your crossed wrists over your heart (the middle of your chest, anyway); then move your hands outwards a short distance, and open them towards the object of your love. It’s just as eloquent as speech.

My major aim was to shape a book which would make its own comment, a wordless statement: to talk through the way it was shaped.