A Quote by Rutina Wesley

At Julliard, they don't teach you where to move your face for the camera, you know? — © Rutina Wesley
At Julliard, they don't teach you where to move your face for the camera, you know?
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.
There was actually a camera on your face. I don't know so much about the animation process but the camera was in our face so it could get expressions from our faces that would eventually arrive on the gnomes. It almost felt like you were cheating at times because it was a wee bit too much fun. You were in that box on your own. Kelly [Asbury] was in Toronto, I was in LA, so I was just on my own. I thought: "I can't be getting paid for this as well!"
I would like to teach music. It's weird the way they teach music in schools like Julliard these days.
I think the camera was always my obsession, the camera movements. Because for me it's the most important thing in the move, the camera, because without the camera, film is just a stage or television - nothing.
I don't like people who are hypocritical, who pretend to be nice, particularly in show business when they're nice on camera, and then off camera they're absolutely appalling to the makeup people, or the waitress in a restaurant, you know? I don't like - I can't bear those kind of people. So I like people who are, you know, up front in your face.
I auditioned for Julliard because I wanted to live in New York, and I wanted to be on Broadway at the time. Julliard seemed like right way to get there.
I did an episode of 'Law & Order,' where I literally didn't move my neck because I thought you couldn't move your head on camera.
I also know what looks good before the camera, how to move the camera, and how to get a story on the screen.
Film, television, and working with a camera is such an intimate art form that if a camera is right on you, and I've got your face filling the screen, you have to be real. If you do anything that is fake, you're not going to get away with it, because the camera is right there, and the story is being told in a very real way.
The reward is that you can actually create a world separate from reality with a story, actors, music, and camera design. When it works it can entertain, move people and teach us all.
Every experience in your life is being orchestrated to teach you something you need to know to move forward.
If you're paralyzing your face in your 20s and 30s, you're not exercising the muscles that give it strength. My feeling is, laugh, cry, move your face.
Your natural instinct when people are throwing punches at you is to back up. That just makes it more dangerous for you. You'll get hurt that way. You've got to teach yourself to go forward, move your feet and move your head. I'm not going to lie, that was tough for me to learn.
You put your camera around your neck along with putting on your shoes, and there it is, an appendage of the body that shares your life with you. The camera is an instrument that teaches people how to see without a camera.
If a bout of "creepy face" sets in, the trick is to look away from the camera between shots and turn back only when necessary. This also limits how much of your soul the camera can steal.
You know it's said that you make your own face. So you don't really have a face until you are 30 or your mid-20s. When you are starting to grow up and show your character in your face.
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