A Quote by Laurie Simmons
The challenge has always been to wrest emotion out of a doll face that we think of as only having one emotion. It's moving a light, moving my camera; it's just this mental investment that I make, and suddenly, everything changes.
Related Quotes
The challenge has always been to wrest emotion out of a [doll's] face that we think of as only having one emotion. It's moving a light, moving my camera; it's just this mental investment that I make, and suddenly, everything changes. Parenthetically, I have to say, I don't particularly like dolls, nor have I ever liked them. That's something I really wanted to get out there right away.
I was always very proud of myself that I could wrest emotion from a doll or a puppet. It never occurred to me that I could find real emotion in a person.
I think any musical has so many moving parts and the challenge is unifying all the moving parts in particular because you have the camera and now it's all about adaptation and what works in one medium doesn't necessarily work in another so the challenge is to stay as true as you can to the material and yet not be afraid to step out of it and add elements to make it satisfying cinematically.
If you have just an emotion, you would not necessarily feel it. To feel an emotion, you need to represent in the brain in structures that are actually different from the structures that lead to the emotion, what is going on in the organs when you're having the emotion.
There is only one emotion, one energy, in the universe: the energy, the emotion, that we call Love. When you know this, everything changes.
An emotion is only an emotion. It's just a small part of your whole being. You are much more than your emotion. An emotion comes, stays for a while, and goes away, just like a storm. If you're aware of that, you won't be afraid of your emotions.
What is immutable about Sherlock Holmes? He favors reason over emotion, but actually underneath that, there is a lot of emotion going on. You can't suddenly make him ordinary because he would hate that. He's not suddenly going to be somebody else.
I used to think that animation was about moving stuff. In order to make it really great, you bounce it, squash it, stretch it, make the eyes go big. But, as time went on, I started loving animating a character who had a kind of burning passion in her heart. Suddenly, animation became for me not so much about moving stuff as it was about moving the audience.
Great emotion always tends to become rhythmic, and out of that tendency the forms of art have been evolved. Art becomes artificial only when the forms take precedence over the emotion.
Feeling of an emotion is a process that is distinct from having the emotion in the first place. So it helps to understand what is an emotion, what is a feeling, we need to understand what is an emotion.
Fight sequence to me isn't just about the athleticism. It so often is about what the emotion that is behind it and how willing you are to really, really challenge that emotion or really take that emotion to that place so you're feeling a certain intensity for the whole time when you're shooting the actual physical scenes.
In all my unhappiness I was moving, and suddenly, this moving became an expression, a speaking out
Mostly what I try to do is build emotion. Only I'd prefer not to do it by telling you about emotion but by pushing that emotion down.
Brush and ink are only servants of thoughts and emotion. They should follow your emotion and change with the emotion.
If you ant to feel deeply, you have to think deeply. Too often we separate the two. We assume that if we want to feel deeply, then we need to sit around and, well, feel. But emotion built on emotion is empty. True emotion- emotion that is reliable and does not lead us astray- is always a response to reality, to truth.
I like to get people moving and jumping. I think it's good to add more emotion and chaos.
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