Where's the upside in opening your mouth?
Before the famine, which was in the 1840s, that was an emotional turning point... There are various documents showing how the Elizabethan English, in particular, were shocked by Irish displays of affection, by the way women acted toward strangers, walking up and putting their arms around them and kissing them right full on the mouth.
The Lord says: "These people come near to me with their mouth and honor me with their lips, but their hearts are far from me. Their worship of me is made up only of rules taught by men."
As soon as the actor steps into the role, you probably can cut 50% of the lines because there's a person there now. And what a person does with their eyes, with their mouth, with their hands, the way they walk into a room, you can probably cut half the scene.
'Particularly' is particularly difficult because the 'L' and the 'R' are totally different, like totally different letters. I would spend hours in front of the mirror with my dialect coach to observe my tongue. You don't think, when you speak, about all the things that happen in your jaw and your mouth, how everything reacts, so you have to watch all those things and realise we have a totally different use of our tongue and jaws.
I should just stop trying to control what's coming out of my mouth. I'm always going to keep what's important to me in mind and I completely understand considering that we're playing characters that are so coveted by so many people so I get why they want to know more about us. I just sort of have to not think about it.
I'm totally anonymous until I open my bloody mouth and people recognize the voice.
So you have the challenge of just learning the lines, period, and not only learning them, but learning them to the extent that you assimilate them, so that you're not worried about what the next word is coming out of your mouth when it comes to doing a scene. And you're also in the trenches with the writers, just in the wonderful kind of back and forth of how is it best to say something, even if it involves four or five words. I love that kind of thing.
If I'm doing some weird tick with my mouth, or not standing still or something, I'll be the first person to notice it, and then want to change that. I think it's important just to maintain trajectory, to not just use your same tricks over and over.
I get an opportunity to communicate with the audience about the movie that I've made. I get the chance to bring attention to the film that I've made. I care a lot about the movies that I make. I want them to reach an audience, and I want them to be successful. I promote nearly everything that I do, unless I've got some bad taste in my mouth.
Anyway, I'm doing my rave and this spittle comes out of my mouth and it winds its way very delicately through the wire fence that separates us and lands clear and bright on Denzel's lip. And we're at the beginning of the scene and I've got to do the rest of the scene, and the camera isn't on him, it's on me - and I'm fully aware that I've just spat on Denzel Washington!
Why not just tell people I'm an alien from Mars. Tell them I eat live chickens and do a voodoo dance at midnight. They'll believe anything you say, because you're a reporter. But if I, Michael Jackson, were to say, 'I'm an alien from Mars and I eat live chickens and do a voodoo dance at midnight', people would say, 'Oh, man, that Michael Jackson is nuts. He's cracked up. You can't believe a damn word that comes out of his mouth.
At college, I felt frustrated thinking three years was a long time and I just wanted a job but afterwards I was in employment the whole time. I got into a theatre company and started doing stand-up gigs for cash, so I lived hand-to-mouth, but there was always enough to pay the bills.
I was a weird kid because I liked to be alone, but I craved attention. It was important for me to be cool, but I couldn't keep my mouth shut. So I was either talking for the sake of talking, or I was curled up with a book somewhere hiding from everyone.
Let the mouth also fast from disgraceful speeches and railings. For what does it profit if we abstain from fish and fowl and yet bite and devour our brothers and sisters? The evil speaker eats the flesh of his brother and bites the body of his neighbor.
Every time somebody opens their mouth they have an opportunity to do one of two things - connect or divide.
When you got your hand in the lion's mouth, don't do nothin' til you get it out.
To say what or where we came from has nothing to do with what or where we came from. We do not come from there any more, but only from each word that proceeds out of the mouth of the unnamed. And yet sometimes it is our only way of pointing to who we are.
All we have to do is listen. The Good Lord gave us two ears and only one mouth, my dear white-headed mother used to say.
It's hard to smoke a pipe, and it's actually kind of brutal. It burns your mouth and your throat, and to keep it lit.
I caught a tremendous fish and held him beside the boat half out of water, with my hook fast in a corner of his mouth. He didn't fight. . . . . . . . . . . . . . . . . . . . . . . . . . I stared and stared and victory filled up the little rented boat from the pool of bilge where oil had spread a rainbow around the rusted engine to the bailer rusted orange, the sun-cracked thwarts the oarlocks on their strings, the gunnels-until everything was rainbow, rainbow, rainbow! And I let the fish go.
A young poet in America should not be advised at the outset to give up all for the Muse-to seclude himself in the country, to live hand from mouth in Greenwich Village or to escape to the Riviera. I should not advise him even to become a magazine editor or work in a publisher's office. The poet would do better to study a profession, to become a banker or a public official or even to go in for the movies.
Beware of the anger of the body. Master the body. Let it serve truth. Beware of the anger of the mouth. Master your words. Let them serve truth. Beware of the anger of the mind. Master your thoughts. Let them serve truth.
Between the mouth and the morsel many things may happen.
The truth is, if you're around long enough, you have a story about everyone. But it's best to keep your mouth shut sometimes.
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