Tobias Lindholm Quotes

Your internal dialogue has got to be different from what you say. And, you know, in film, hopefully that registers and speaks volumes. It's always the unspoken word and what's happening behind someone's eyes that makes it so rich.

In real life, people fumble their words. They repeat themselves and stare blankly off into space and don't listen properly to what other people are saying. I find that kind of speech fascinating but screenwriters never write dialogue like that because it doesn't look good on the page.

I'm obsessed with subtexts. I love that we often don't say what we feel. That gap between the two. I like it when actors reveal a lot without having to say it.

I don't want a performance to give me everything. You can look at Charlotte Rampling in '45 Years,' and you don't really know what she's thinking, but you know something interesting is happening.

Often it is important to listen to what people aren't saying.

I enjoy playing characters where the silence is loud.

It may be said that poems are in one way like icebergs: only about a third of their bulk appears above the surface of the page.

When you go to a movie, it's about what's not being said. I tried to bring that to Greg Sumner. It was always about what's not being said.

As much as movies are about the words that you're saying, they're also about what's not said, the silent moments.

No matter what you say in carefully chosen sentences, girls will detect both the spoken and unspoken messages.

For me, music is about expressing the inexpressible, and as I get older, man, what I feel the need to express becomes less and less poignant to others.

When you want some subtle emotions, you need some subtle vehicles for emotion.

The emoji still doesn't really speak to the complexity that actually - or the subtext that goes on between when people actually speak face-to-face.

It's a fine line. If you withhold too much, you come across as wooden - as I've often been described in some movies. Fair enough. I believe that the best performances are the ones that an audience has to search for.

The most important thing in communication is to hear what isn't being said.

In a Western, you talk more with your eyes and your actions than you do with big speeches. I love that.

I'd really like to play a character who's inarticulate. I always play people with language. It would be good to play a mute or a fool or a saint.

I love the deadpan. It's such a strong go-to. It lets the audience make their own decisions about what you're thinking.

I'm always just drawn to those roles that present one way and have many other things going on underneath. It's just more fun to play as an actor.

I'm interested in the things that might seem slight or amusing but which I feel have a kind of profundity.

The greatest acting really is spoken without words, or at least I like to think that.

Flashy characters are more entertaining to people because you get it. You don't have to work to get someone who says what they mean and says what they think. They're out there. It's harder to play a quiet character because everything happens in their stream of consciousness.

Some actors are better with words than me. I prefer to play it rather than say it - and keep people thinking.

I am myself sometimes, and I do state my opinions, but not in a comedy routine and not in my character. There always has to be some sort of layer to it.

I'm always interested in how people use language to not say what they mean.