Jim Butcher Quotes

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.

Language is handy, but we humans have social and emotional connections that transcend words and are communicated - and understood - without conscious thought.

I make a lot of expressions constantly. I'm animated.

One of the most telling things about a person is how they say hello, handshakes.

There's as much revealed in the way a person lifts a glass as in what they say about some political issue.

I talk with my hands. Some people don't like that. That's who I am.

Never talk when you can nod and never nod when you can wink and never write an e-mail, because it's death. You're giving prosecutors all the evidence we need.

When people walk in a room, the way they sit or they talk, that itself tells me a story.

I've always really been interested in observing people's postures, the way they speak with their hands, the way they communicate things with their body language.

I did realise that when you talk with a straight face, you come across as someone bolder than somebody who bats her eyelids a lot.

I come from a part of Nigeria where a lot of value is placed on implicit communication. The 'well brought up' child is the one who can pick up nonverbal cues from adults and interpret them correctly.

Accents are interesting, because they very often inform the way a person moves.

The odd thing is that Trump's hand movements don't seem to coordinate with the topic at hand. Most pols manage to make their hand movements correspond with the message, so a slash will accompany emphasis, etc. Trump's got about three moves, the most notable of which is his "okay" gesture, making a circle with his thumb and forefinger. Anyway, Trump has only a few gestures, including that one, and to my eye he uses them seemingly indiscriminately. I've seen him use the "okay/f.u." sign to be pedantic.

When somebody you've known for 20 years, and with whom you have a full context, winks at you or whatever, it can be huge. I think in a sense what you're trying to re-create in fiction is that.

We speak with more than our mouths. We listen with more than our ears.

When I talk to people and I get animated, I touch them and am very physically involved. It's actually been really hard, but it's an acting challenge.

So much of courtship is the unspoken.

You have to communicate on a much greater scale. With a camera, you can use the flick of an eye. On stage, a lot of other things are happening that can pull focus or energy. You're always thinking the same way, but you have to amplify your thoughts with the volume of your speech and the ways you use your whole body to communicate what you're feeling. It's a little bit different from film.

He gave a small nod, and I smiled back, and that was it. He understood that I'd understood that he'd understood. It took us one sentence, two looks, and a nod - with another woman it would have been at least five minutes of out-loud talking. Lucky for me I spoke fluent guy.

In real life, I always look at people and how they walk, or how they carry themselves. I think about the body a lot, in performance.

Taste speaks through a turn of phrase, a curl of the lip, a shrug of the shoulder: it makes an atmosphere.

Zuzana arched an eyebrow. She was a master of the eyebrow arch, and Karou envied her for it. Her own eyebrows did not function independently of each other, which handicapped her expressions of suspicion and disdain.

How does Love speak? In the faint flush upon the telltale cheek, And in the pallor that succeeds it; by The quivering lid of an averted eye-- The smile that proves the parent to a sigh Thus doth Love speak.

We wear on our faces the results of what we believe and how we behave, and such behavior is most evident in the eyes and on the faces of those who have lived many years.