Clarissa Pinkola Estes Quotes

Cinema doesn't connect with the body as artists have in two thousand years of painting, using the nude as the central figure which the ideas seem to circulate around. I think it is important to somehow push or stretch or emphasize, in as many ways as I can, the sheer bulk, shape, heaviness, the juices, the actual structure of the body. Cinema basically examines a personality first and the body afterward.

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

Bones don't make for success on the runway, but a proportioned, balanced body does.

Listening to something without being present is different from being there in the flesh.

It's true that my body's not small and my style is not defensive. I am aggressive, and I am tall.

I don't go out looking to make spectacular plays. I just try to come in and be a physical presence inside.

I think you have to be physical no matter who you're playing against, so that's just something that I have to do.

With my size and length I can affect the game in a lot of ways.

Don't try to kid yourself that your game is about pace if it isn't. If you're a big guy like me you need to look at how similarly built players use that physical presence to influence a game. Accept that your build may have some limitations - but plenty of plus points too.

We discount the physical, when, in fact, much of life is physical. People's personalities are partly formed by, or in response to, how they take up space; the physical mask has some relation, howsoever obscure, to the mental work happening underneath.

I mean, sometimes if you're not always going to win on the scoreboard, you want to make sure that you're there physically.

At first sight, Pogba was notable for his size and physicality, and when you got to know him, there was also a confidence about him.

Architecture is a wrapping for the human body, and dance is the finest expression of the body.

Because I'm fairly big, I like to use my body. So I'll control the ball, even when there's a player on me, and then I'll pass.

Huth is the sort of centre-half who will let you know he is there, so to speak, with a challenge or two early in the game.

I'm used to working with a rehearsal process and your body. It's a different thing to just be a voice. It's liberating, on one hand, because you get to show up in sweatpants and with Doritos on your fingers, but on the other hand, it's limiting because it's just your voice.

I'm 6 feet tall, I'm strong, I'm thick.

I like to enter my characters through a physical form first. The first thing I find is the regime of the character - when he wakes up tomorrow, what activities does this person engage in - that's my entry point. Once I get that, then it becomes easy for me.

Soul, a moving river. Body, the riverbed.

What do the contours of your body mean, laid out like the lines on a hand, so that I no longer see them except as fate?

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.

An ample arse helps you to be weighed down and be grounded.

I've got the strangest build. It's big in the hips, small in the waist and I've got these enormous ... shoulders.

The human body is something that I truly love, above all else.