A Quote by John C. Maxwell
Take the emotional temperature of those listening to you. Facial expressions, voice inflection and posture give clues to a person's mood and attitude.
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I love voice over work. To me, voice over and animation is such an art, because you focus solely on your voice. You do not focus on how to speak, combined with facial expressions, movement, etc. You as the actor need to convey all those things with only your voice.
Few animals display their mood via facial expressions as distinctly as cats.
While voicing animations I use the same acting muscles, even more because you have to channel all into your voice, whereas when you're live-action you get props and scenery and other actors and your facial expressions and what happens to help you. It's not necessarily easier as an actor to do voice-overs, it's easier as a person.
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.
In reading we must become creators. Once the child has learned to read alone, and can pick up a book without illustrations, he must become a creator, imagining the setting of the story, visualizing the characters, seeing facial expressions, hearing the inflection of voices. The author and the reader "know" each other; they meet on the bridge of words.
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.
Making the visuals photo-realistic lets us do things we were never able to do before. The voice acting, the facial expressions, are all that much deeper.
Someone told me I had funny facial expressions. I don't know whether I take that as a compliment or not, but.
What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.
A KEY TO BEGIN FORGIVING: Become soft and tender with the person. The first step is to become soft in your mind and spirit. Lower your voice and relax your facial expressions. This reflects honor and humility; and as Proverbs 15:1 suggests, "A gentle answer turns away anger."
You can tell a lot about a person just by watching their facial expressions. But there are times when it's best to hide your feelings, especially at work.
It's the way I feel about acting. That we are given clues by a writer about someone's essence or persona and it's our job to try to figure out which of those clues are true, which of clues we decide to follow and which of those clues we think are red herrings, or only in the way another character thinks of that character.
What a director really does is set the emotional temperature and the mood and the level, amount, or lack of, distance between the action and the character, and the character and the audience.
It's true that interacting through text means no eyelines, no facial expressions, no tone of voice. That can be an advantage, helping us to consider content rather than eloquence, import rather than source.
For me, listening to Beethoven and Tchaikovsky in particular, there's an emotional aspect - very different kinds of emotional aspects from those two composers, nonetheless, very strong emotional aspects from both of those composers.
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.
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