Ralph Waldo Emerson Quotes

The most entertaining surface on earth is the human face.

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.

Make your faces so that they do not all have the same expression, as one sees with most painters, but give them different expression, according to age, complexion, and good or bad character.

There’s nothing as significant as a human face. Nor as eloquent. We can never really know another person, except by our first glance at him. Because, in that glance, we know everything. Even though we’re not always wise enough to unravel the knowledge.

She had one of those charming faces which, according to the angle from which you see them, look either melancholy or impertinent. Her eyes were grey; her trick of narrowing them made her seem to reflect, the greater part of the time, in the dusk of her second thoughts. With that mood, that touch of arriere pensee, went an uncertain, speaking set of lips.

Some eyes threaten like a loaded and levelled pistol, and others are as insulting as hissing or kicking; some have no more expression than blueberries, while others are as deep as a well which you can fall into.

This fascination with the human face has never left me... Every face I see seems to hide and sometimes, fleetingly, to reveal the mystery of another human being... Capturing this revelation became the goal and passion of my life.

She was not one for emptying her face of expression.

Faces are as legible as books, only with these circumstances to recommend them to our perusal, that they are read in much less time, and are much less likely to deceive us.

My face is a transparent transmitter of my every thought.

The close-up says everything, it's then that an actor's learned, rehearsed behavior becomes most obvious to an audience and chips away, unconsciously, at its experience of reality. In a close-up, the audience is only inches away, and your face becomes the stage.

Thinking a smile all the time will keep your face youthful.

You read the past in some old faces.

His dress told her nothing, but his face told her things which she was glad to know.

There is in every human countenance either a history or a prophecy which must sadden, or at least soften every reflecting observer.

There are few faces that can afford to smile: a smile is sometimes bewitching, in general vapid, often a contortion.

Be sure to give the same expression to a person's face that you give to his body.

The language of the face is not taught by the schools; it is intuitive, and to the observant is always legible.

There is no doubt that the life one leads, and the thoughts one thinks are registered plainly in his face.

The human face does not always reflect the beauty that may repose in the soul.

After 40, one's face begins to tell more than one's tongue.

Make portraits of people in typical, familiar poses, being sure above all to give their faces the same kind of expression as their bodies.

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.

What I really enjoy is not you; it's something that's greater than both you and me. It is something that I discovered, a kind of symphony, a kind of orchestra that plays one melody in your presence, but when you depart, the orchestra doesn't stop. When I meet someone else, it plays another melody, which is also very delightful. And when I'm alone, it continues to play.

When you're feeling terrific, notify your face.