Jerry Seinfeld Quotes

I love acting with very little dialogue. As long as it's supported. I mean, in terms of cinema, you can have a great monologue, but if you're not supported by the images ... You can be feeling things and then you see it back, and you're like, "None of that came across." Or the angle of my face gives it a completely different interpretation than what I was trying to communicate.

When you perform, you can convey emotions differently, and your look can reflect each of those emotions.

With all of the characters I've played, I feel like I've tried to communicate through my eyes and face, as much or more than with words. That's something that I like to watch in films, and something that I like to bring to the characters that I play.

Robert DeNiro, who may be the greatest living actor, usually acts in a way which is very stone-faced, like Steve McQueen. For example, Steve McQueen, if you cut the sound, you don't know what he's acting really. He gives to the lines, to the text, something very special, and he's very good. He was a great actor. But, to do a silent movie, you have to have more expressive actors.

The terrain of the face is the most dynamic thing you can point the camera at, to me. I love production design and bells and whistles and all of that. I love a technograin as much as the next gal, but a great actor's face? What else should we be looking at?

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

I often concentrate on the eyes and lips, they are great indicators of mood and feeling, and I find that I can project character into my portraits by bringing the viewer's attention to these areas.

As an actor, you have many tools - your body, your voice, your emotions, mentally. In film, you have your eyes because they communicate your thought process. In fact, generally in film, what you don't say is more important than what you say. That's not so much the case for stage.

I remember seeing the performance Samantha Morton did in 'Sweet and Low Down' where she didn't speak at all, and I loved it so much because she got to do so much work just by expressing herself in her body and her face. With expressions, it wasn't necessary to speak. I find that appealing.

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

Tell a story. You don't have to do a thousand things in two minutes when you can do one just as good and still tell that story with your face or how you land or your reaction. That's a lost art. Storytelling is a big part of our industry, and if given time, you can do it properly.

Eyes are the greatest tool in film. Mr. Capra taught me that. Sure it's nice to say very good dialogue, if you can get it. But great movie acting - watch the eyes!

Never say never - and I certainly don't judge anyone who does it. But most of the characters I play are going through some kind of emotional turmoil, so my job requires me to have expression. If my face was froze, what right do I have to play that part? All the women who haven't done anything to their faces are still able to play great roles. And some of the ones who have done something have messed it up - they look freakish. Anyway, for me it's about playing women with rich lives - and the longer the life, the deeper the wrinkles.

Life wanted faces that would express what we wanted to tell. Not just the unusual or striking face, but the face that would speak out the message from the printed page. I am always looking for some typical person or face that will tie the picture essay together in a human way.

It's always interesting to play characters who are vulnerable and how you display that vulnerability and what it's going to mean to people who watch it.

So much emotion can be brought in an animated film that's very hard to get in a live-action film. I haven't quite put my finger on why, but it might be because the characters can make facial expression that, if you made them in a movie, they'd call them corny.

When people embrace character, it informs their living, breathing moments in a scene so well.

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.

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.

I think acting, oftentimes it's not about lines, it's about spaces in between lines and expressions on people's faces and their relationships. You can tell your own story, or a story that you're interested in, even if the lines don't necessarily point you in that direction.

You have a lot more leeway to be contradictory playing a character than most of the scripts have in them. That's how all actors are. We have so many different sides of ourselves and we're so different, in meeting with different people. The audiences relate more to that and find that more believable.

IF YOU PRETEND THE CHARACTERS CANT SPEAK, AND WRITE A SILENT MOVIE, YOU WILL BE WRITING GREAT DRAMA.

A lot of times, in film and TV, they just want you to play yourself. But, when you're someone who's more of a character actor, you get to experience what it feels like to play a bunch of different kinds of people. I find it more invigorating than challenging. I definitely trust the writers to give me the material that I will take and turn into the person that I'm playing.

The balance of the frame - the way an actor is relating to the space in the frame - is the most important factor in helping the audience feel what the character is thinking.

It is well-known that those who have charge of young infants, that it is difficult to feel sure when certain movements about their mouths are really expressive; that is when they really smile. Hence I carefully watched my own infants. One of them at the age of forty-five days, and being in a happy frame of mind, smiled... I observed the same thing on the following day: but on the third day the child was not quite well and there was no trace of a smile, and this renders it probable that the previous smiles were real.