With my mask, I controlled all of the mouth movements with my own mouth.
I'm usually told to do a take where I do less with my face.
The most difficult thing about shooting guns instantly on film is to not pull a silly face while the gun is going off, because it's always a bit of a shock. So you find yourself sticking your tongue out or blinking or whatever. So the hardest thing is to keep a straight face while you're shooting a gun.
I feel weird if I can't move my face, and that one time I overdid it, I felt trapped in my own skin.
Isn't it annoying when your face doesn't do what you want it to express?
I can do this thing called the 'eyebrow wave,' where I can move my eyebrows in a...wave-ular motion, whatever you call it. I feel like all the teen magazines have sucked me dry of my cool talents.
There were a couple times with close-ups where I tended to overact. I would use more of my face than I needed to. I learned how to be more subtle.
All my muscles are in my face. I have a very muscular face. I'm good with faces. I always have been.
I'd always wanted to be an actress, and suddenly I knew that learning to control my facial muscles was one of the best assets I could have as a performer.
I know I can never work in a comedy because I can't keep a goddamn straight face.
I have a rubbery face.
You've got muscles and you use them everywhere else in your body when you want it. Why not your face?
I know how to play comedy when it's needed. So even when it's really not there, my facial expressions are really great. I have a lot of facial expressions in my face, you know.
There are few faces that can afford to smile: a smile is sometimes bewitching, in general vapid, often a contortion.
I move my face so much because I'm very much expressive. I'm told a lot, 'Stop moving your face'. Because on camera, the tiniest movement tells so much, and it looks really hammy.
