Sarah Greene Quotes

Good actors, you always know what they're thinking. That's why they're good actors.

There is this miraculous thing I heard Hugh Grant talking about - the thing about screen acting is that you can read people's thoughts. You are trying to register something inside and usually the eyes in cinema are where you will register that.

I like to use my hands. When I was in theatre in college, that was one of my biggest notes: 'You use your hands too much.'

The best way to show an emotion is not through a character's words, but their smallest expressions - to take what an actor would visually do and try putting that down on the page for the reader to 'see.'

Breathing is always key in any character. When you have a character with no voice, that makes it even more important.

Modeling is really silent acting.

When you are in a live-action movie, you have so many more options to express yourself. You can use your body and your gestures and facial expressions. When you are doing an animated movie, you really only have your voice.

As an actor, you have many tools - your body, your voice, your emotions, mentally. In film, you have your eyes because they communicate your thought process. In fact, generally in film, what you don't say is more important than what you say. That's not so much the case for stage.

I remembered a mantra that one of my teachers used to tell me at drama school, that every thought will pass across your face. Even if you're thinking about Shreddies the camera will read it.

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

In films, the camera catches each nuance of expression in close ups. On the stage, it is less subtle, you have to act with your whole body.

I use my hands a lot while acting.

I'm usually told to do a take where I do less with my face.

You learn to control every aspect of your muscles, your face, your toes, your fingernails. And that is how you tell a story, through movement.

It was a challenge to be able to create a character without being able to use one's normal set of expressions. All the rubber and makeup attached to your face left you with only a modest range of facial movements.

I can never wink at the audience.

When you perform, you can convey emotions differently, and your look can reflect each of those emotions.

There are times when I consciously give the character something physical - a walk, the way he sits, how he talks, or his lack of physicality, which is like a physicality.

I found out was, by the rhythm of my chewing, how I chewed fast, slow or what have you, I could tell the audience what my character was thinking and feeling.

When I go from a role with heavy prosthetic makeup, which I've done quite a bit of as well, and then do a role where I'm not wearing any, I have to be conscious of toning everything down. Because when you're wearing prosthetic makeup, of course, you have to really move your face a lot more to convey things through the makeup.

I play guys who never smile, and I never stop smiling.

Every role is physical to a certain extent, but as a viewer, I don't respond well to actors doing more than they need to tell a story.

I'm a very physical actor; everything I do is pretty much body-oriented. I sometimes am able to deliver information just with a look; my face does two or three different things, and it says it all.

Everybody uses mime and gesture in real life, though we don't realize it. It's very useful as a performance technique, though it can be boring to watch on its own.

Accents are very easy for me. With me, it's clothing and makeup and hair and all that stuff that inform how the character moves and feels.