Kristanna Loken Quotes

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.

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.

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 feel like I'm more of a physical actor than a voice actor.

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

You have to do real acting, not just do a voice.

Emotions often must be portrayed from an inner feeling, of course, but I had a double advantage because I was learning to direct my as-yet expressionless feelings as well as gaining an ability to express emotion by a very conscious manipulation of my muscles.

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.

Body language is essential for an actress, even if you don't use your body in an athletic way. Just to be free, to use it like your voice. A body can be small and have incredible violence. A body talks.

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.

I use my hands a lot while acting.

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

When I watch an actress say a line, I watch how they deliver the lines with gestures.

I've done a lot of films that are purely live-action roles, and even if I hadn't come across performance capture as a technology, I think I'd always consider myself a sort of mercurial actor.

I tell you, I've always been quite physical about acting. I've always felt about for the shape of someone or the deportment, for better or worse. Sometimes I think I've done it disastrously, and other times, when I'm not thinking about it so much, less disastrously, but I can't seem to control it much.

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 thing that got me closest to doing Kermit was remembering what Jim did when he was doing Kermit. When he would do Kermit, there were certain faces that he made. There was a certain way he stood, a certain kind of body language that he had.

I used to love watching Angela Lansbury and other people when they were doing voice-overs for Disney shows. You'd see them doing these wild gestures in front of the microphone. I used to think, 'Is that really necessary?' What you realize when you're doing it is that that's the only way.

Acting is very physical, even when it doesn't appear to be. It's about the arc of your body's language through a film.

Michael C. Hall is an incredibly detailed actor who can convey so much with just an eyebrow.

Andy Serkis is one of the best actors I have ever worked with. He might be the best actor I have ever worked with.

What is important is for me to do my best work on camera. The camera is inches away from you and sees every micromovement of every muscle of your eye. And if you're not relaxed, the camera sees it.

Bad actors try to cry, and good actors try not to. Bad actors try to laugh, and good actors try not to.