Jeremy Irons Quotes

You can convey a lot of emotion with just some eyebrows and mouth movement.

I make a lot of expressions constantly. I'm animated.

The best way to show an emotion is not through a character's words, but their smallest expressions - to take what an actor would visually do and try putting that down on the page for the reader to 'see.'

As an artist who performs on the stage, I try to express my feelings and convey my inner thoughts through the looks I give the audience. So, I tend to focus on making sure that my makeup highlights my eyes properly.

With public speaking, practicing congruence is very helpful - allowing the words to be expressed with the face and body. It helps to think of simply "turning up the nonverbal volume."

The odd thing is that Trump's hand movements don't seem to coordinate with the topic at hand. Most pols manage to make their hand movements correspond with the message, so a slash will accompany emphasis, etc. Trump's got about three moves, the most notable of which is his "okay" gesture, making a circle with his thumb and forefinger. Anyway, Trump has only a few gestures, including that one, and to my eye he uses them seemingly indiscriminately. I've seen him use the "okay/f.u." sign to be pedantic.

When I talk to people and I get animated, I touch them and am very physically involved. It's actually been really hard, but it's an acting challenge.

In real life, I always look at people and how they walk, or how they carry themselves. I think about the body a lot, in performance.

So, Eva Nine, you must sometimes disregard what someone is saying and focus instead on what they are doing. Watch and observe. That is when one reveals his true self.

Hillary Clinton doesn't command the screen. She doesn't look intimidating, inviting, engaging.

I'm afraid I tend to be thinking about things and not paying sufficient attention to one's posture, deportment and general cast of face.

There are tones of voices that mean more than words.

I sensed him leaning forward. It's weird to feel someone's attention on you that way, like you're the only thing in the world they're listening to. Most of the time people are distracted, or just thinking about what they're going to say next.

I hear from so many women who really started to pay attention to it at all times and stopped, you know, touching their faces and necks and playing with their hair and twisting their legs. I think women become more aware of it when they learn about this stuff, and you see their body language change.

Here's why I think there's something a little odd with George Bush. Because a lot of the times when he speaks, his words don't match his face. Something is askew. You can't talk about the war with a smile on your face. He does it constantly. If you're the President, you should go We're going to talk about the war, I must have a frowny face. The only time you can smile when you're talking about the war in Iraq is when you go, Well, two Iraqis walk into a bar, hahaha.

To make yourself understood to people, one must first speak to their eyes

Power posing! I do it before any appearance and recommend it to everyone. Gold!

Some think I wink at them when I shut my eyes to avoid their sight.

Our nonverbals govern how other people think and feel about us.

Men reveal what they think when they look away, and what they feel when they hesitate. With women, it's the other way around

To get to go from stage to set and back, it keeps you feeling very present, and I think that's always such a wonderful thing in your work because you don't really have time to be as neurotic as I might become.

There is a proverb that says, ‘Talk so that I may know who you are.’ But I say, ‘Show me your eyes and I will know who you are.

Body language is so important, as is composition. You can not say something, and then the body reacts, and it says a lot of things dialogue can also say.

One of the first roles I had on stage was with a brilliant director in a brilliant play with a brilliant cast, but I just couldn't find my way into the heart of the character. I found myself straining a lot. When it started. I felt lost. That was the Eugène Ionesco play Rhinoceros. I don't think I was prepared for that. I don't think I had the full tool kit to do it justice. It's a very difficult play, it's an extraordinarily difficult part, and I never felt I really got it right. Far from it. To a degree, Hamlet was the same.

The eyes of men converse as much as their tongues, with the advantage that the ocular dialect needs no dictionary, but is understood all the world over.