Quotes About Interpretation

Find your own specific voice in filmmaking and go for it. Either people will get it or they won't and that's what it's all about.

For each movie that I do, I like to find a specific language to tell the specific story.

I don't have a specific thing I want anyone to get out of anything I do.

Now the difficulty with those warnings is that they were not specific.

You need these experiences. Just know that sometimes, the director has a specific look in mind.

I usually look at things like that from an audience perspective first, then have a closer look at the specific character they're talking about me for.

Unless it's a specific accent, or something about physicality you have to change, I am generally not such a conscious actor.

When I'm writing, I'm writing for a particular actor. When a lot of writers are writing, they're writing an idea. So they're not really writing in a specific voice.

I try to do as much as possible for every character. Some of them, it is easier to do the research because you have either real examples that you work with, maybe some specific person that inspires you in that case, or the performances from other people, or the characters, or a character from a book.

That's what I love about songwriting - that you can write something about your own experiences and think it's completely specific to you, and then people can take away a completely different meaning for themselves. I really love that. I think you've been successful at writing a song when it has a larger life than yourself.

My films are very rooted in specific people's point of view. Some film-makers give a more global point of view, like God looking down at the characters.

Theatricality is a concept. It's not a specific language.

Everyone has a different interpretation of characters we know and love from Shakespeare, from 'Miller'. There's specific things about them that are written that are kind of the fingerprints of the first person who played that role, and so I like to think of it as a road map.

A big part of being an actress specifically is feeling entitled to your artistic opinion, feeling that it means something, and being able to stand by it.

I am very aware that playwrights, particularly good ones, have a intention for everything they write. Language and punctuation is used specifically, and most of the time actors can find wonderful clues about character in the rhythm and cadence of the language used.

Do I watch dancers as people? Yes, absolutely. Do I watch really good dancers for specifically who they are? Absolutely, because how they move best and how they look best is going to be most familiar to them, and not necessarily to me.

A lot of screenwriters write certain characters, certain parts, with actors in mind. I don't really tend to do that. I describe them as specifically as I can, but I don't really picture anyone in particular.

No nude, however abstract, should fail to arouse in the spectator some vestige of erotic feeling, even if it be only the faintest shadow - and if it does not do so it is bad art and false morals.

I think words come between the spectator and the picture.

If a spectator with a philosophical mind, somebody accustomed to reading books, gets the same kind of information in a movie, he might not fully understand it.

I have my opinions about the way my father was. But they are my opinions, not necessarily the truth, and they are certainly not the whole spectrum of what this man was going through. It's my young, selfish interpretation of that person.

Emotion-enabled wearable glasses can help individuals who are visually impaired read the faces of others, and it can help individuals on the autism spectrum interpret emotion, something that they really struggle with.

Silence may be as variously shaded as speech.

Silence remains, inescapably, a form of speech.