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.
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.
When making documentaries, the most important thing I learned was to listen, observe gestures and facial expressions.
Just the fact that there's motion and sound, took me a long time on Walking Dead to get used to the fact that in television, characters don't have to say things. In comics, people have to say I feel this way, or I want to do this, and you can do so much with gesture and movement and facial expressions that you can do sometimes facial expression stuff in comics, but you can do so more if somebody can move around without actually speaking. That leads to a different style of writing between the two mediums.
There is something myopic and stunted in focussing only on the meaning of words and sentences. And this myopia is especially unfortunate when combined with a rather abstract view of a language as a set of elements and rules for combining these. For the result is to divorce enquiry into meaning from attention to the way words - and gestures, facial expressions, rituals and so on - are embedded in practices, in what Wittgenstein called 'the stream of life'.
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.
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.
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.
Animation taught me to draw quickly and clearly and to communicate a character's feelings through his or her body language and facial expressions.
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.
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.
Watch how you communicate with a woman. Because you're always communicating, even when you're not talking - with your body language, your facial expressions, your eyes.
In a movie, it's often important to have aliens whose gestures and facial expressions can be 'read' by humans. And in the days before sophisticated computer animation, most extraterrestrial bit players were guys in rubber suits. Such practical considerations forced Hollywood's hand when it came to aliens - they look like us for good reasons.
Basically, asking me what kind of music I like is like asking what kind of food I like: 'Anything that tastes good,' is the answer. I'm the kind of guy who spends three times as much on his speakers as he does on his television.
People communicate anger of course through facial expressions, but in voice, there's a wider spectrum, like cold anger and hot anger and frustration and annoyance, and that entire spectrum is a lot clearer in the voice channel.