Quotes About Interpretation

It is necessary to look at the results of observation objectively, because you, the experimenter, might like one result better than another.

As an actor, you create a character from your understanding of what you have heard and your observations. Eventually, every film is an extension of the images that I have seen or what I have heard or read somewhere.

Writers are the ones who figure out how to put their observations into words.

You can learn more from a person just from their observations and how they see the world. More so than just talking.

The actors bring their own stuff and thoughts, and most of the time, I don't want to know what they are. It allows me to have more distance and observe what they're doing without having the knowledge of what they have in their minds, so I can see clearly how that feels to me.

What makes characters so interesting when you're an actor or a dancer is to watch and observe how people walk and move and speak. Are they cat-like? Are they walrus-like? Why does that person bother me, and why do I think they are the way they are?

I just think the more we're observed by other people, the less we can observe them in order to play them and find their true condition.

When the code of laws is once fixed, it should be observed in the literal sense, and nothing more is left to the judge than to determine whether an action is or is not conformable to the written law.

It is not possible to completely eliminate mediation between you as an observer and the history you are trying to understand.

You know, you become an artist, you become an observer, of life, and you digest life by making art about it.

I get to pick so many things as an actor. Also, I'm a good observer of people and their mannerisms.

At the end, we're kind of observers - creative people, I mean. I feel like an observer, and I'm pretty much able to step out of things and see how things are playing out.

Actors are observers of human life, of human behavior.

It is possible to interpret without observing, but not to observe without interpreting.

My books are based on observing others, not myself.

The historian is, by definition, absolutely incapable of observing the facts which he examines.

I think you can tell a lot about people if you observe them as they're observing.

'The Company' was interesting. I didn't love it, although it might be compelling to someone who isn't a dancer. There wasn't a lot of dialogue, and you were just kind of observing the creative process of choreography and in class.

I'm good at observing people, physical stuff, which leant itself to acting.

I'm obsessed with subtexts. I love that we often don't say what we feel. That gap between the two. I like it when actors reveal a lot without having to say it.

When I was in school, they say everybody can do art. And I was, like, a little bit obstinate - not an anarchist, but I was always asking questions. I said, 'Isn't art supposed to be difficult?' If we can all do art, then it's not really art. It's supposed to be difficult.

On stage I have to amplify some of my emotions with my back or make something a little bit more obvious because my audience might be very far away from me, or very high up and find it harder to read what I'm trying to express.

Sometimes I make certain assumptions but find they're not immediately obvious to my players.

What frustrates me a lot about some aspects of filmmaking is people thinking everyone is really dumb and that we have to make everything really obvious.