Anne Parillaud Quotes

I use my hands a lot while acting.

There are times when I consciously give the character something physical - a walk, the way he sits, how he talks, or his lack of physicality, which is like a physicality.

I'm pretty much of a physical actor.

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.

I tell you, I've always been quite physical about acting. I've always felt about for the shape of someone or the deportment, for better or worse. Sometimes I think I've done it disastrously, and other times, when I'm not thinking about it so much, less disastrously, but I can't seem to control it much.

When you act, your whole body is the instrument.

I'm a very physical actor; everything I do is pretty much body-oriented. I sometimes am able to deliver information just with a look; my face does two or three different things, and it says it all.

I think there's something to be said for being physical in acting.

Actors always start with the voice and language. That's wrong. They should start with the body. The body is an actor's most important resource.

Before you get into the mind, you have to inhabit the physicality. Body language is a great way of speaking.

Nothing is more revealing than movement.

I feel like I'm more of a physical actor than a voice actor.

When I'm working on my characters, that's something I pay a lot of attention to: how their body works, how they move, how they articulate.

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

Modeling is really silent acting.

In a costume, you need very exaggerated body language - as you say, sort of mime-type skills.

You have an awareness of your body and how to use it and I think that if you can embody a character physically it's another really useful tool.

I'm a very physical actor.

To be a good actor, you need to be able to emote with your body.

If you're working in close-ups, then an actor is only able to act with his head. I like an actor to act with their entire body.

There is as much expression in the feet as in the hands.

You have to learn to express differently. Whenever I do TV or film, I ask if I can see the shot to see, to see if it's full body or a close-up. That helps me understand how to communicate.

You learn to control every aspect of your muscles, your face, your toes, your fingernails. And that is how you tell a story, through movement.

When articulation is impossible, gesticulation comes to the rescue.

When eventually I started to act a bit more, I realised that circus school had taught me something that a lot of actors my age didn't have: physicality. They didn't know how to move. Acting is not all about talking. There is something animalistic about it.