Movement Analysis Quotes

Acting is very physical, even when it doesn't appear to be. It's about the arc of your body's language through a film.

An artistic standpoint - I've watched a lot of ballet and source some inspiration from how they move, connect with each other, and find meaning in their movement.

In 'The One Who Falls,' three women and three men, in everyday clothes, negotiate each other while moving, often in unison, on a giant spinning tile.

One can best observe a movement of the time - its dangers as well as its advantages - by scrutinising it in its strongest, most pronounced form.

No lens is quick enough to track the movement of the human body. The molecules are always moving.

I met a guy on the golf course who was a kinesiologist - after I looked up the word, I found out it meant exercise. I started working with him, and that was many years ago.

If you look at the game and everything, it's not quite like looking at an animated film, because that's total character. This, this is really movement, but it's got funny little things if you look for the humor. They're actually getting to the character.

In Italy, the coaches are very attentive to the details. They really study things, and that is a big difference here. They look at your movement, your positioning. They study you and work out how to stop you.

I'm very interested in dance, and I'm very interested in how people express themselves through movement. And of course, cinema is a kinetic art form. It's almost the point of cinema - it's time-based and movement-based.

I've always thought of the process of creating ballets as being this kind of team effort. It's not like being a painter, where you have your paint, and you have canvas, and you just go at it. I'm working with these living, breathing, functioning human beings, and they have their own thoughts and ideas about what works well movement-wise.

Mine was an apparent forward movement whereas Burley's was a continuous serpentine movement.

If I get the walk of a character, that helps me find them. So I'm constantly looking at airports and train stations, registering walks.

In particular, I studied German and Russian biomechanics.

Movement never lies. It is a barometer telling the state of the soul's weather to all who can read it.

I'm not expressing anything. I'm presenting people moving.

Going on to train with Lecoq in Paris meant I discovered European theatre at a formative moment growing up.

In a way, Strandbeests have turned into migration animals, and the step counter gives them an idea of where they are. While counting their steps, they know more or less where they are between Kijkduin and Scheveningen.

Games sometimes can reveal things. To watch someone in movement, unconscious movement, can be very stimulating and revealing, whether they win or not.

I spent a lot of time on my own working out the physical vocabulary for how Gollum moved. As I say, I drew on a lot of Tolkein's descriptions of how he moves, but also the conceptual artist sketches.

You know I very much respect Yvonne Rainer, she is very important - in American dance, the entire development of modern dance, and creating a wonderful physical language.

I really want the audience to place close attention to the movement, possibilities of movement, possibilities of trespassing boundaries and observe what's possible in different social settings, and different settings of class designation as well.

Ballet requires movements which are very unnatural. With every step, you do a circular movement of the hip. You turn out from the hip and make your knees point out to the side instead of forward.

Walking . . . is how the body measures itself against the earth.

But what is of great importance to me is observation of the movement of colors.

There's a whole language to movement and how you embody someone, and how you can use different techniques for different characters. I guess just posture, and the way you walk, and the way you physically are. All of that says a lot about who someone is.