Leonardo da Vinci Quotes

I guess maybe directors see a face that seems to have been lived in. I know that my face has been lived in, yeah.

With all of the characters I've played, I feel like I've tried to communicate through my eyes and face, as much or more than with words. That's something that I like to watch in films, and something that I like to bring to the characters that I play.

Never say never - and I certainly don't judge anyone who does it. But most of the characters I play are going through some kind of emotional turmoil, so my job requires me to have expression. If my face was froze, what right do I have to play that part? All the women who haven't done anything to their faces are still able to play great roles. And some of the ones who have done something have messed it up - they look freakish. Anyway, for me it's about playing women with rich lives - and the longer the life, the deeper the wrinkles.

Moods are complicated and very much a part of who we are. People would be very boring without them.

Everybody thinks performance capture is about thrashing around and doing a lots of movement, but it's actually about being able to contain and think and be believed in a close-up, as much as anything else.

A face that is really lovely in repose can fall apart if, when its owner stars to talk, she distorts every feature.

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

All of us have a lot of sides to ourselves, but the fun thing about being actor is you make one side predominant for the character you're playing.

I have a kind of neutrality, physically, which has helped me. I have a face that can be made to look a lot better - or a lot worse.

Things aren't interesting if you level them. It's the voice that's interesting.

I loved playing a dramatic role. There's a side of me a lot of people don't know, and when I do dramatic roles, it just all comes out.

The face is the soul of the body.

Take a look at Mila Kunis. When you see her performance in 'Forgetting Sarah Marshall,' you see a beauty there, and also a sadness.

Portraits are about revealing aspects of an individual.

I don't wear a mask, I don't have a suit. It's not some CG double or a stunt double. The suffering the character [Doctor Strange ] goes through is immense!

Elijah can register such subtle emotion on his face that I loved doing close-ups on him. He really brings a superb emotional level to Frodo's scenes and although he is a very instinctive actor, we discussed the character thoroughly.

The unique thing about Margaret Rutherford is that she can act with her chin alone. Among its many moods I especially cherish the chin commanding, the chin in doubt, and the chin at bay.

It’s always about, somehow, finding a part of myself that is relevant, and then turning the volume up on that particular part. So, I am all of the characters I've ever played, and I am none of them at the same time.

There are faces so fluid with expression, so flushed and rippled by the play of thought, that we can hardly find what the mere features really are. When the delicious beauty of lineament loses its power, it is because a more delicious beauty has appeared, that an interior and durable form has been disclosed.

Robert DeNiro, who may be the greatest living actor, usually acts in a way which is very stone-faced, like Steve McQueen. For example, Steve McQueen, if you cut the sound, you don't know what he's acting really. He gives to the lines, to the text, something very special, and he's very good. He was a great actor. But, to do a silent movie, you have to have more expressive actors.

Be sure to give the same expression to a person's face that you give to his body.

Some eyes threaten like a loaded and levelled pistol, and others are as insulting as hissing or kicking; some have no more expression than blueberries, while others are as deep as a well which you can fall into.

You are always looking at people like this.” And then she made a face, one he couldn’t possibly begin to describe. “If I ever look like that,” he said dryly, “precisely like that, to be more precise, I give you leave to shoot me.

Make portraits of people in typical, familiar poses, being sure above all to give their faces the same kind of expression as their bodies.

So much emotion can be brought in an animated film that's very hard to get in a live-action film. I haven't quite put my finger on why, but it might be because the characters can make facial expression that, if you made them in a movie, they'd call them corny.