John Leguizamo Quotes

You have to show the character is confused or scared or happy through your voice instead of with your face and body.

Colossus' voice is not much different than mine, as Tim loved my natural color and range of voice, so we kept it and worked more on the Russian accent. The best note I received was to be authentic.

I loved the Disney films, and Sterling Holloway was one of their chief talents. He never had to put on a voice, and that's what Mike [Mitchell] and I encourage. I love the voices that have a unique texture, but it's their real voice.

I understand that in the industry, a lot of it isn't real. Which is a difficult thing. Where I come from a lot of people are straightforward and I've had to learn how to not say exactly what I feel. Sometimes it gets frustrating being a person who says what he feels and what his heart is telling him. Every once in a while I fall into letting the industry get the best of me and not just saying exactly what I feel.

Acting is a challenge at times. I mean, when you have scenes where you're jumping into a mascot bear to travel back in time, and you try to make that seem real. For me, I'm a person that has a pretty wild imagination, just kind of letting that run wild and sort of just doing the best you can to not feel stupid.

Say it before you run out of time. Say it before it's too late. Say what you're feeling. Waiting is a mistake.

There is a difference, of course, between real sentiment and the trash of shared experience.

If you are joyful, do not worry about lukewarmness. Joy will shine in your eyes and in your look, in your conversation and in your countenance. You will not be able to hide it because joy overflows.

If I had not lived the life I had lived and did not have the wife I have and the children I have, I would never know how to play that role [of Dr. Bedsloe], and I wouldn't have any of those qualities. It's a real example of how it is true that the camera catches everything. Even the stuff you're trying to hide.

Twice in her life she had mistaken something else for it; it was like seeing somebody in the street who you think is a friend, you whistle and wave and run after him, and it is not only not the friend, but not even very like him. A few minutes later the real friend appears in view, and then you can't imagine how you ever mistook that other person for him. Linda was now looking upon the authentic face of love, and she knew it, but it frightened her. That it should come so casually, so much by a series of accidents, was frightening.

I'm an animal. I'm an animal in real-life and an animal onstage. I never became a recluse, I never lived up in the Hills where I didn't see real life. You know what I mean? I'm not still living in Brooklyn, but I'm still living in the street. I go out by myself, I don't go out with a million body guards, I run my own errands.

Sometimes the lines in a song are lines you wish you could text-message somebody in real life.

In real life people fart, in the movies, people don't. Why not? Farts are a repressed minority. The mouth gets to say all kinds of things, but the other place is supposed to keep quiet. But maybe our lower colons have something interesting to say. Maybe we should listen to them. Farts are human, more human than a lot of people I know. I think we should bring them out of the water closet and into the parlor.

I never utter my real feelings about anything. My lighter, superficial side will always be too quick for the deeper side of me, and that's why it always wins.

When people embrace character, it informs their living, breathing moments in a scene so well.

Acting is like sex. You should just do it and not talk about it.

The only form of fiction in which real characters do not seem out of place is history. In novels they are detestable.

It [voicing animation] is very freeing. Nobody in the cast is doing their voice. No one is talking like they normally talk and it's because, all of a sudden, you're freed from the physical limitations of how you look, which is amazing.

I think we're an inspiration to young people, to know they can be honest and not run away from influences that are not jazz. We're definitely breeding a new wave of jazz, for real.

I love when I get to play these characters that are bigger than life. There are roles in animation that I never get to do in real life - and it appeals to my ego as an actor to play the Queen of Everything. I admit it.

For me, singing was real life, not two plus two equals four.

If I write a fantastic story, I'm not writing something willful. On the contrary, I am writing something that stands for my feelings, or for my thoughts. So that, in a sense, a fantastic story is as real and perhaps more real than a mere circumstantial story. Because after all, circumstances come and go, and symbols remain.

One of my jobs as an actor, regardless of who I play - even if I'm playing a despicable character - is to make people think that that character could exist, that he's real, and the way to do that is to make him believable. He doesn't have to be likable or charming, but he just has to be believable. That is someone who I could see on a bus. That is someone who I could walk past in the street.

I find it easier to cry than I do to laugh convincingly. It's incredibly hard to pull off a laugh that feels natural take after take after take, that feels real. You can tell a fake laugh the minute you hear it, and that's something I really struggle with more than producing tears.

What I found was an emotional consistency with him. The words, the scenes, the situations - I wasn't mimicking what I thought Branch Rickey's emotional reality would have been.