Emotional Subtlety Quotes

'English Vinglish' is simple; that's why people like it. The film has simplicity and sensitivity. There is no melodrama. Some things have been conveyed just through expressions and no lines.

Real tenderness can't be confused, It's quiet and can't be heard.

Poetry is a lyrical insinuation. Often, its melodic subtlety kisses the subconscious mind.

I prefer to underplay scenes rather than, you know, be big and drive them. And sometimes you have to do that, but I like the more natural styles.

That was the beginning of modern acting for me. You don't have to tell a camera everything. It gets bored if you do and wants to look elsewhere.

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.

I still don't know how to express the really delicate personal stuff. People think that Plastic Ono is very personal, but there are some subtleties of emotions which I cannot seem to express in pop music, and it frustrates me. Maybe that's why I still search for other ways of expressing myself. Song writing is a limiting experience in some ways - writing down words that have to rhyme.

I felt that there could be some anger. There could be some frustration that he has the tendency to take over the room, but I wanted all of those things to show in the grays of her hair and the fact that her hips are much wider than they probably were when she met him. I wanted it to show in the fact that her hair is not done up all the time. I wanted it to be a part of that every day that wasn't in your face. Because then for me, that's overacting. To me, that's not "being." I wanted Rose [in "Fences"] to be many things.

For me, music is about expressing the inexpressible, and as I get older, man, what I feel the need to express becomes less and less poignant to others.

Women's glances express what they dare not speak.

If he thinks he would harm Mirabelle, he would back away. But he does not yet understand when and how people are hurt. He doesn't understand the subtleties of slights and pains, that it is not the big events that hurt the most but rather the smallest questionable shift in tone at the end of a spoken word that can plow most deeply into the heart.

Some feelings are quite untranslatable; no language has yet been found for them. They gleam upon us beautifully through the dim twilight of fancy, and yet when we bring them close to us, and hold them up to the light of reason, lose their beauty all at once, as glow worms which gleam with such a spiritual light in the shadows of evening, when brought in where the candles are lighted, are found to be only worms like so many others.

Emotion should not be rendered by an excited trembling; it can neither be added on nor be imitated. It is the seed, the work is the flower.

You don't need a love scene to show love.

What people call unemotional just doesnt have a single overriding emotion to it. The things that I like best are the ones that ambiguous on the emotional level.

I must know, he thinks. It must be clear to me. There is a world which is closed to him, a world of shadings, gradations, nuances, and subtleties. He is a genius and yet he is too explicit. June slips between his fingers. You cannot posses without loving.

Flashy characters are more entertaining to people because you get it. You don't have to work to get someone who says what they mean and says what they think. They're out there. It's harder to play a quiet character because everything happens in their stream of consciousness.

The reactions of the human heart are not mechanical and predictable but infinitely subtle and delicate.

There are a couple of writers I admired who were very good at giving the character's emotion without stating what that emotion was. Not saying "He was feeling tense," instead saying, "His hand squeezed harder on the chair arm," as if staying outside the guy. I wanted to try doing that. I wanted to have a really emotional story in which the characters' emotions are never straight - out told to you, but you get it.

A man may welcome his beloved with circumstance, but a woman's love and her concern for his well-being are discreet.

I'm usually told to do a take where I do less with my face.

Gently touching with the charm of poetry.

Some emotions don't make a lot of noise. It's hard to hear pride. Caring is real faint - like a heartbeat. And pure love - why, some days it's so quiet, you don't even know it's there.

Whenever you're playing somebody who is, by all accounts, rotten, don't focus on the rotten stuff. That stuff will take care of itself. It's already in the script; the audience is already experiencing it without you having to add an extra feel of evil. Just play them like regular people.

I don't think of my plays as steamy places where people display huge amounts of emotions. The feeling is underneath, which in my experience is where most feeling is. I don't myself spend my life shouting in rooms, and I don't really believe things in which people do spend their time in total hysteria.