Elle Fanning Quotes

There were two things that became apparent, pretty quickly into the process. One was that the muscles didn't take as much reconditioning as I thought they would. It was more like voice acting than I thought it would be. You're using your whole body and there are things that are different, but when you are doing a character, even in the booth, nobody is watching but my face will do different things when I do different characters.

You see some of these actors, they have a permanent smile on their face. How can they do that? It really fascinates me.

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

In theater, the primary tool for me was voice. On-screen, it's the eyes.

I try to keep my voice natural for each character, but the spirit and the cadence and breathing for each character is totally different. It's those things that set each role apart from the others.

The ghost of a smile flickered across his lips. ‘You’re always the voice of reason. Just try listening to yourself once in a while.

Eloquence resides as much in the tone of voice, in the eyes, and in the expression of the face, as in the choice of words.

Doing voice work is more like recording music that people are going to listen to. You're creating an oral experience using whatever bells and whistles you have in your voice, and you can shut your eyes and use your imagination and nobody's going to see if the faces you make don't match the voices you make. That's a lot of fun.

Voice acting is very different from live-action. You only have one tool to convey emotion. You can't sell a line with a look. It's all about your vocal instrument. Doing voice work is also great because you don't have to get your hair done, which I despise.

Indian actors know how to shout with the eyes.

You have the script in front of you. It doesn't involve your body. It's all about your voice. And its fast work. Its also very lonely work. You are by yourself. Very rarely are you in a group. You act with yourself, and someone else mumbles the lines back at you. If at all.

While voicing animations I use the same acting muscles, even more because you have to channel all into your voice, whereas when you're live-action you get props and scenery and other actors and your facial expressions and what happens to help you. It's not necessarily easier as an actor to do voice-overs, it's easier as a person.

I do very little on-camera acting, so within a phrase as a voice actor you have to know how to convey when someone is 95 years old or 19 years old. . . When I was the lead singer of the California Raisins commercials there was a traditional actor there as well and he would do all these body movements without saying anything because he was "acting." And the only acting the microphone picked up on was silence.

I love acting with very little dialogue. As long as it's supported. I mean, in terms of cinema, you can have a great monologue, but if you're not supported by the images ... You can be feeling things and then you see it back, and you're like, "None of that came across." Or the angle of my face gives it a completely different interpretation than what I was trying to communicate.

An eye can threaten like a loaded and levelled gun, or it can insult like hissing or kicking; or, in its altered mood, by beams of kindness, it can make the heart dance for joy. ... One of the most wonderful things in nature is a glance of the eye; it transcends speech; it is the bodily symbol of identity.

... it's impossible to register any emotion without using some muscle which, in time, will produce a wrinkle. ... By the time she is thirty, a starlet has been carefully taught to smile like a dead halibut. The eyes widen, the mouth drops open, but the eye muscles are never involved.

There is a smile of love, And there is a smile of deceit, And there is a smile of smiles In which these two smiles meet.

There are few faces that can afford to smile: a smile is sometimes bewitching, in general vapid, often a contortion.

The language of the face is not taught by the schools; it is intuitive, and to the observant is always legible.

I play a lot of characters where I don't even speak in my own voice. I learned about focus and I learned to trust that things can work when they're not heightened and that it's interesting when things are pared down.

Learn as much as you can about performing. Live theater, improv classes, music, stand up comedy, dance, anything to make yourself confident and comfortable in front of an audience. It'll all come in handy when auditioning for producers and performing with other actors. The best voice actors all have a live performance background. And are competent, fearless, incredibly creative actors.

I never thought of myself as an impressionist, so when I do audition for voice-matching things, I have to work really hard and do a lot of listening and trial-and-error.

Often a silent face has voice and words.

It [voicing animation] is very freeing. Nobody in the cast is doing their voice. No one is talking like they normally talk and it's because, all of a sudden, you're freed from the physical limitations of how you look, which is amazing.

The inmost spirit of poetry, in other words, is at bottom, in every recorded case, the voice of pain – and the physical body, so to speak, of poetry, is the treatment by which the poet tries to reconcile that pain with the world.