Quotes About Observation

I don't know about you, but I can tell when someone's lying. They can't look you in the eye - they look you in the bridge of your nose.

Eyes lie if you ever look into them for the character of the person.

The eyes of all people are upon us.

I don't take anything at face value. I always look for the reasons people are the way they are.

I just love human emotion and faces.

Mainly, I thought of Barney as a kid. You can always look into the faces of kids and see what they're thinking, if they're happy or sad. That's what I tried to do with Barney.

For me, the runway is fun. I try to just chill out and look at faces in the crowd if I can.

Science is facts.

The facts are always less than what really happened.

Facts and particulars annoy me.

I like people-watching and fading into crowds.

At the premieres, I always watch the audience. If a child asks to go to the bathroom, I know I've failed.

I always watch Dean Martin's show... just to see if he falls down.

It's really difficult when you don't see much of a team and you're not familiar with how they play.

Most films I write are based on what I have seen growing up, and I could write 'Ulidavaru Kandanthe' because of that familiarity.

I write a lot about other people, like family and friends. I look at their lives and relationships and think, 'Well, if I was in your position, this is how I would see it.'

The more you play against teams and defenders, the more you get to know them. You know if they are more nervous; you know, on the pitch, people are different. I try to adapt to their character.

I got interested in coaching while I played at St. Joseph's. Because we played a national schedule, we played teams coached by Nat Holman, Joe Lapchick, Hank Iba, and others. I could see the impact the coach had on their teams, and I thought, 'That's a pretty good thing to do.'

Cartooning is about deconstruction: you gotta tear something down to make a joke.

My attention is more on the technical process of filmmaking; I like to observe cinematography and direction.

He grows daily more capable of following any inspiration without technical effort, and also of letting inspiration come to him through meticulous observation.

Of course I realize that photography is not the technical facility as much as it is the eye, and this decision that one makes for the moment at which you are going to snap, you know.

There are a lot of things that make up a performance, a lot of technical things. It isn't always just about pulling it up from the darkest recesses of your mind or your heart. It's your experience and your observation.

If I am looking at my work as an actor after having directed, I'm able to look at things in a much more technical way. There's no question about that.