Robert Loggia Quotes

I've always been a people-watcher, and as an actor, later, I just mined all those little details.

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

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.

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.

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.

I've got to tell you, I've played real characters before and people always bring up this word 'impersonation,' and I'm never entirely sure what it means.

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

Good actors, you always know what they're thinking. That's why they're good actors.

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

It's hard to act with just your jaw.

The writing is important, but the way you say the line and the pause you give it, the facial expression - all of that is very important.

In day-to-day life, our brain sends lots of signals. In acting, there are no signals. You have to believe in what you are trying to portray.

I always play these rodent type characters - skittish and hyper like a chipmunk. It's a complete act though. I'm a very normal person.

I'm not Jack Nicholson. I'm not Brando. But I do mumble.

I watched season four of 'The Wire.' They have subtle performances that they do through their eyes. You could watch season four with the audio off and still understand what's happening through their eyes.

One of the most important things for an actor is to observe humanity.

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.

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

It's a good challenge as an actor to express feelings without saying too many words.

I use my hands a lot while acting.

There is a very thin line dividing characterisation from impersonation. I've to make sure I don't cross over into mimicry.

I think acting, for me, is about play. It's about time, and it's about feeling, like there's a story to tell and I can tell it through my body and my voice.

Really good acting is not about dialogue. It's really just about small moments that really make the whole entire scene and the intention completely different than even maybe what the characters are saying. Two characters could be saying, "I hate you, and I don't want to be with you anymore!" But yet somehow, their toes are just inching more, you know, closer to each other. So a really big thing about acting is really just with your body.

Laurence [Fishburne] is a great example of how to communicate to the audience as you're acting with another actor.

As an actor, I don't have any politics. As an actor, I'm driven more by an authentic - I would say an obsessive-compulsive-disorder level-fixation on mimicry, tonality of voice, to literally imitate something until I can just disappear into it.