A Quote by Neal Adams
I did work more realistically: I used real anatomy, faces with expressions - not Dick Tracy with his one slip of the mouth and that's it, but actual expressions on the faces that made the characters look like they were saying what was in the balloons.
Related Quotes
I have found when I look at an audience that the expressions on the peoples' faces aren't always up to par with the sounds that they're making. A crowd can sound like they're having a good time when your eyes are closed but if you open your eyes, the looks on some of those faces don't equal the sound.
One of the reasons why I love acting is my obsession with human emotion and faces and expressions - no surprise, then, that I usually end up painting faces. But I haven't done a self-portrait. I'd be too scared.
I can't possibly be objective about myself. I can look at my other colleagues work, and they are all tremendous, really. To see their faces, to see their expressions, to see how they were sitting in their chair uncomfortably, and start crying even, is a great testament to what film can achieve.
Euphonic and harmonious expressions, forcible and just expressions, profound and comprehensive expressions, and especially apt and witty expressions, each have their specific influence upon different minds, and their common influence upon all minds.... It is therefore high time our most valuable aphorisms and paragraphs were put in order for frequent perusal, and for handy reference, as the circumstances of life call up subjects.
There's always so much more that can be conveyed on screen visually in the expressions of people's faces, in their bodies, in their body language. And also with sound design, with music.
Each time, I try to find a family of interesting faces. I follow the tradition of films from the 40s - at this time, there were so many interesting faces in France. I often work with the same because there are not thousands and thousands in France. I'm looking for interesting faces and characters actors, and it's not for everybody.
I thought I was okay in my first film, and then I was really, really bad in some films. I really cringe when I see some of my scenes. There's a scene in one film where a dog is biting me; the expressions I have made should be qualified as the most over-acted scene in the history of the cinema. The dog's expressions were more real than mine.
Painted faces, sun burnt skin, fixed expressions, smiles worn thin.
I think about a Richard Avedon photo series, the kind of faces he gets of real people, which I find so captivating. Fellini was also great in filling his films with this ambiance, this environment, sometimes chaotic and carnival-like, but people's faces were always amazing.
You reach a moment in life when, among the people you have known, the dead outnumber the living. And the mind refuses to accept more faces, more expressions: on every new face you encounter, it prints the old forms, for each one it finds the most suitable mask.
You don't believe it because you don't understand," he said hoarsely. "Prosper was different. He wasn't like other people. He might have hated me, but he loved me too. In his own way. He couldn't help it; not after raising me for all those years." When no one responded – when he saw nothing but expressions of disbelief on the faces around him – Cadel wailed, "He did! He did! I know he did! He only wanted to wreck my life because he wasn't a part of it!" And as sympathetic hands reached out towards him from every corner of the car, Cadel began to cry like someone whose heart was breaking.
I have felt cats rubbing their faces against mine and touching my cheek with claws carefully sheathed. These things, to me, are expressions of love.
When he sees little kids sitting in the backseat of cars, in those little car seats that have steering wheels, with grim expressions of concentration on their faces, clearly convinced that their efforts are causing the car to do whatever it is doing, he thinks of himself and his relationship with God: God who drives along silently, gently amused, in the real driver's seat.
The way you get to know yourself is by the expressions on other people's faces, because that's the only thing that you can see, unless you carry a mirror about.
I have to control my mouth - and that's hard enough - and then I have to manipulate the puppet and make it look real - like, make its interactions look real. And then I have to sing at the same time, and I have to have my facial expressions reacting to the puppet... So it's a lot going on, and I have to focus on every single thing at the same time.
Amory wondered how people could fail to notice that he was a boy marked for glory, and when faces of the throng turned toward him and ambiguous eyes stared into his, he assumed the most romantic of expressions and walked on the air cushions that lie on the asphalts of fourteen.
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