John Philip Sousa Quotes

Acting coaches in Hollywood were always telling me to use my hands and body more. But that was never me. I just breathe and sometimes it doesn't look as if I'm doing 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 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.'

I think there is no better training than being onstage because here's the thing: the theater requires you to act with your whole body. I think acting with your whole body gives you a root, and you can build from there.

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

I use my hands a lot while acting.

The more comfortable I got onstage, the more comfortable I got expressing myself in a physical manner. And it almost shocked people - 'Oh, is there something happening?'

Onstage, you can be anything you want to be. In concert, I might project a different side of myself, but I wouldn't do anything I'd be embarrassed of.

I can never wink at the audience.

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

I feel so much at home onstage and so comfortable in my body.

The body cannot lie. You cannot be somebody else onstage, no matter how good of an actor or dancer or singer you are. When you open your arms, move your finger, the audience knows who you are, you know.

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.

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.

Acting is a total physical, emotional sensation.

I won't wear rings and jewelry on the stage because I don't want you looking at my hands. I want you hearing what I'm saying.

I love body language.

When I'm onstage, I'm not thinking about ideas. I'm not in my head at all. It's a more physical experience.

The key to acting has much more to do with listening than with talking.

Sometimes I say I feel more like a dancer than an actor, because there are things implied about being an actor that I don't really like. I feel more comfortable with the word 'performer'. I like being the thing. I like being the doer. There's a factualness to it. And then certain resonances happen out of how you apply yourself physically.

Performing, for me, has always been a very inner process.

I couldn't talk to people face to face, so I got on stage and started screaming and squealing and twitching.

For many years, there has been only one place where I am in touch with my emotions fearlessly, and that's the stage. Being on stage fills my soul in many ways, almost completely. It's my vice.

One of the things I'm always reminded of when I'm back on stage is how much you have to be aware of and in control of. There is no tight shot. There is no 'we're only shoulders-up this time.' No, from the top of your head to your pinky toe, you're telegraphing part of the story the entire time you're up there.

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