Rebecca Stead Quotes

I think you translate emotion better when you take your hands off.

Character and emotionality don't always have to be relegated to quieter, more simple constructs.

I'm obsessed with subtexts. I love that we often don't say what we feel. That gap between the two. I like it when actors reveal a lot without having to say it.

There are women to whom nature has granted the gift of silent emotion. They have mobile faces, changeful eyes, soft lips, which express joy or desolation naturally, and with the charm of perfect simplicity and truth.

I don't need dialogue to convey emotion or thoughts to my audience.

It made me alive to the fact that the most important thing sometimes is what isn't said - to prepare for moments of revelation that can be read entirely on actors' faces without dialogue.

It's a fine line. If you withhold too much, you come across as wooden - as I've often been described in some movies. Fair enough. I believe that the best performances are the ones that an audience has to search for.

As much as movies are about the words that you're saying, they're also about what's not said, the silent moments.

Music is the unspoken language that can convey feelings more accurately than talking ever could.

I never was very capable of expressing my feelings or emotions in words. I don't know whether this is the cause why I did it in music and also why I did it in painting. Or vice versa: That I had this way as an outlet. I could renounce expressing something in words.

These are very subtle things, of course, and I don't expect everyone to pick them up consciously, but I think that there is something there that you must be able to feel, there is an energy at work that I must trust my audience will be able to pick up at some level.

The script will point you in certain directions and I go the opposite if I can. I try do do one thing and tell a different story with my eyes. I believe what's more interesting is always what's not being said.

I'm not a man of many words, I'm not very expressive or emotional, but it comes out in my music.

A lot of the stuff that I do with Betty is in the eyes. A lot of the feelings that I evoke with her are unspoken, so that's been fun to play with.

Breathing is always key in any character. When you have a character with no voice, that makes it even more important.

Music fills in for words a lot of the time when people don't know what to say, and I think music can be more eloquent than words.

We should always remember that sensitiveness and emotion constitute the real content of a work of art.

I understand why people went nuts for 'The Artist.' We use words so much, it's nice to be able to explore a different way of communication, to be able to express silently what someone - or something - is thinking or feeling.

When you go to a movie, it's about what's not being said. I tried to bring that to Greg Sumner. It was always about what's not being said.

I'm an instinctive actor. I just see the part and play it. I'm more interested in what isn't said - the silences.

It's amazing to hear, as a voice matures and then starts to decline, what kind of emotion is still conveyed by a really good vocalist.

In a Western, you talk more with your eyes and your actions than you do with big speeches. I love that.

Dialogue is not always the best way to show emotion, to show your thought process, or to reveal yourself, as a character.

The person you're playing must have feelings, but if he's not able to show them, then just the subtlest rumblings and nuances can say an incredible amount.

Tone matters more than words.