A Quote by Laurie R. King
In silent films, quite complex plots are built around action, setting, and the actors gestures and facial expressions, with a very few storyboards to nail down specific plot points.
Related Quotes
In silent films, quite complex plots are built around action, setting, and the actors' gestures and facial expressions, with a very few storyboards to nail down specific plot points.
Plot is just not my gift. I'm fascinated with complex characters, and that doesn't mix well with complex plots. And by the way, when the plot is simple, you can move one piece around and make it feel fresh. Hell or High Water's a good example: I don't tell you why the brothers are robbing the bank.
Don't have conversations taking place in empty space. Weave in background details of where the action (dialogue is a form of "action") is taking place. Don't have invisible people talking, either. Let the reader see them as they speak - their facial expressions and gestures. And by all means "cue" the speeches to the speakers.
I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.
We read off the many signals that our companions' clothes transmit to us in every social encounter. In this way, clothing is as much a part of human body language as gestures, facial expressions and postures.Even those people who insist that they despise attention to clothing, and dress as casually as possible, are making quite specific comments on their social roles and their attitudes towards the culture in which they live.
When you are in a live-action movie, you have so many more options to express yourself. You can use your body and your gestures and facial expressions. When you are doing an animated movie, you really only have your voice.
When making documentaries, the most important thing I learned was to listen, observe gestures and facial expressions.
As far as lighting and blocking, camera angles and facial expressions, all that stuff that has to be very specific in film, as opposed to in wrestling where everything is larger than life and you're performing to the masses.
Gestures and facial expressions do indeed communicate, as anyone can prove by turning off the sound on a television set and asking watchers to characterize the speakers from the picture alone.
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.
Like, every couple of months you read, they rewrite, you come back in, they've animated more stuff - they usually videotape you while you're reading it - so they'll incorporate some gestures and some facial expressions into it.
I'm not, like, an English speaker, so I have confidence in my wrestling skills, also, like, body language, hand gestures, facial expressions. I put all of my emotion in my wrestling.
Few animals display their mood via facial expressions as distinctly as cats.
I think a lot of action films, and I'm just saying this as a moviegoer, the default setting on action films seems to be how could it be cooler?
I didn't know I wanted to do films until I started to do them. Very few films are made in Mexico and film-making belonged to a very specific group, a clique.
When I started 'Still Missing,' I had a few key plot points in mind, which I played around with mentally for a couple of months, then one day I just started writing. Not having an outline led to some cool plot twists, but also many rewrites! A lot of the plotting happened on subsequent drafts.
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