Paulo Coelho Quotes

When you act, your whole body is the instrument.

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

When you get your shoes for the character, no matter what you had planned, as far as how you're gonna move, all of a sudden, you get a certain kind of feedback, in how you connect to the earth and you have to incorporate that.

I don't think I see the way bodies move in any special way. People say I do, but everybody moves. I don't see why all of a sudden I'm a specialist in the way bodies move.

I really like the structure of my body. It moves well, it looks good, it photographs well, it understands gesture and nuance.

You have an awareness of your body and how to use it and I think that if you can embody a character physically it's another really useful tool.

Actors always start with the voice and language. That's wrong. They should start with the body. The body is an actor's most important resource.

Ballet opens up the chest and the arms and elongates the body, so you carry yourself straighter. That's so important for a model. But also every woman.

You have to work with your body when you dance; you can't shy away from your physicality. For me, it's really linked to an incandescent way of accepting yourself and projecting. The dancing was at the core from the beginning.

I think dancing is contributed hugely to how I am as an actor, just a level of comfort in my body and in movement. Things can become strangely physically technical when you're acting, and often something that just feels so unnatural is actually what you need to do in a certain scene.

I find that I put my body in my work when I am at a particularly difficult or joyous point because I want to feel that moment.

When a woman puts on a heel, she has a different posture, a different attitude. She really stands up and has a consciousness of her body.

When you sing a song the way I sing it, you have to use your whole body. It's almost like working out.

It's something that I learned even before I started acting: the movement, the dance of the body, is very important, and it comes before words.

When you step back and watch people, you realize that we use every single body part. Movement, dance - I find it genius because it's ultimate expression, really.

Dancers carry themselves in completely different ways to how we do in our everyday lives. They are very free with their bodies which I'm not used too.

Music has just as much to do with movement and body as it does soul and intellect.

My own physicality, not an abstract idea, makes me a choreographer.

Who a dancer is physically feeds into character for me. Always has.

You don't move just because you want to go from this point to that point - the body has to be using the words as well as you vocally use the words.

I did a masterclass at the Juilliard and asked the students, 'Can you stand?' 'Sure.' 'Can you walk?' 'Sure.' They couldn't. They had never really thought about it.

My body was so instrumental to how I took pictures: it was practically a dance. I used to use my legs a lot; now I'm a little more sedentary.

I am fairly physically aware and agile, and I imbue that into the characters I play.

Something about being a dancer connects you to your physical body. It's primal, earthy, sexual energy by nature. You feel your body in a certain way. Channing is very much the same way. He's very in tune with that.

What musical performers bring to straight characterizations is that physical flexibility that comes with knowing your body so well. A lot of actors are terribly awkward. Terribly. And I think it's so important for them, when they're young, to work on their physical selves.