With my mask, I controlled all of the mouth movements with my own mouth.
I'm usually told to do a take where I do less with my face.
The most difficult thing about shooting guns instantly on film is to not pull a silly face while the gun is going off, because it's always a bit of a shock. So you find yourself sticking your tongue out or blinking or whatever. So the hardest thing is to keep a straight face while you're shooting a gun.
I feel weird if I can't move my face, and that one time I overdid it, I felt trapped in my own skin.
Isn't it annoying when your face doesn't do what you want it to express?
There were a couple times with close-ups where I tended to overact. I would use more of my face than I needed to. I learned how to be more subtle.
I can do this thing called the 'eyebrow wave,' where I can move my eyebrows in a...wave-ular motion, whatever you call it. I feel like all the teen magazines have sucked me dry of my cool talents.
All my muscles are in my face. I have a very muscular face. I'm good with faces. I always have been.
I'd always wanted to be an actress, and suddenly I knew that learning to control my facial muscles was one of the best assets I could have as a performer.
I know how to play comedy when it's needed. So even when it's really not there, my facial expressions are really great. I have a lot of facial expressions in my face, you know.
I know I can never work in a comedy because I can't keep a goddamn straight face.
I have a rubbery face.
You've got muscles and you use them everywhere else in your body when you want it. Why not your face?
There are few faces that can afford to smile: a smile is sometimes bewitching, in general vapid, often a contortion.
I move my face so much because I'm very much expressive. I'm told a lot, 'Stop moving your face'. Because on camera, the tiniest movement tells so much, and it looks really hammy.
