Maggie Stiefvater Quotes

I always thought that if you don't feel the breath in the actors' bodies, you lose all the intimacy and truth.

The body cannot lie. You cannot be somebody else onstage, no matter how good of an actor or dancer or singer you are. When you open your arms, move your finger, the audience knows who you are, you know.

A lot of the stuff that I do with Betty is in the eyes. A lot of the feelings that I evoke with her are unspoken, so that's been fun to play with.

It didn't escape Karou's notice that he found subtle ways of touching her.

It's in the eyes, mostly. Don't listen just to the other actor's lines. Look at - and listen to - their eyes. That's where the emotion comes through.

The most important thing in the face is the eyes, and if you can make the eyes talk, you're halfway there.

I don't use my body to seduce, no. I just stand there.

It isn't about the words you say. It's about the energetic message you send.

Nothing replaces being in the same room, face-to-face, breathing the same air and reading and feeling each other's micro-expressions.

Politics is intensely physical: your hands touch, clasp and hold, and your eyes are always reaching for contact. None of this came naturally to me. I'd always put my trust in words and let the words do the work, but in politics, the real message is physical.

I can look into someone's eyes and feel like I know her better, versus a phone call, where you can't get that same type of emotion. That's why text messaging gets you in trouble: You can't bond, and emoticons explain only so much.

Physical presence provides chemical, relational, psychological and physiological effects that virtual relationships cannot. Our brains change in the presence of another person and their behavior.

A man's desire is for the woman, but the woman's desire is rarely other than for the desire of the man.

To hear someone talk about their life - you get to know the way their eyes moisten up, how big the smile is or how comfortable their body language is while talking to someone.

The feeling of actually being with someone you love at that moment is completely different than a video afterwards.

As an actor, you generally want to see the other actor's face.

Sean takes my ponytail in his hand, his fingers touching my neck, and then he tucks my hair into my collar out of the reach of the wind. He avoids my gaze. Then he links his arm back around me and pushes his calf into Corr's side.

I don't know how much time passes with us just lying there, just feeling that the other is really there, really true, really alive, feeling the safety of him, his weight against mine, the roughness of his fingers touching my face, his warmth and his smell and the dustiness of his clothes, and we barely speak.

And taking her friend’s hand, she put it on her breast, on that firm round covering of a woman’s heart which the male often finds so satisfying that he makes no attempt to find what lies beneath it.

I'm afraid I tend to be thinking about things and not paying sufficient attention to one's posture, deportment and general cast of face.

When he speaks again, I can tell that he's smiling. "So I guess we saved each other.

He must have smiled at me, though I don't really know, but I don't like to think that I would love someone who hadn't first smiled at me.

Ne speaketh not; and yet there lies a conversation in his eyes.

To feel physically comfortable with someone else's body is not a decision you make. It has very little thing to do with how two people think or act or talk or even look. The mysterious magnet is either there, buried somewhere deep behind the sternum, or it is not.

Sexuality is primarily a means of communicating with other people, a way of talking to them, of expressing our feelings about ourselves and them. It is essentially a language, a body language, in which one can express gentleness and affection, anger and resentment, superiority and dependence far more succinctly than would be possible verbally, where expressions are unavoidably abstract and often clumsy.