Quotes of All Topics . Occasions . Authors
By studying psychology i want to be a better actor. There's something about studying body language and non-spoken emotion - I know the innate response. But to really study it like a science would be fun.
My boyfriends have all been as stoical as queen's guards. They'd been patient, committed, and dispassionate, and I'd had to really debase myself to extract any emotion, either grin or grimace, from them.
The best way to show an emotion is not through a character's words, but their smallest expressions - to take what an actor would visually do and try putting that down on the page for the reader to 'see.'
Remember that feelings or emotions emanate from the more ancient, less evolved, lower part of the human brain, while thoughts are a product of our highly evolved, uniquely human, outer part of the brain.
The years rolled their brutal course down the hill of time. Still poor, my clothes still smelling of the horse barn, still writing those doubtful poems where too much emotion clashed with too many words.
Spirituality is a natural part of ourselves, as natural as emotions, but we've got all the language wrong and made this divide between secularism and spirituality, whereas instead it's about being human.
Crying was an acceptable outlet, even if it made you feel raw and empty inside, it was still better than that build up of resentment that grew from not letting your emotions out. - My Bestfriend's Girl -
We agree that language functions in a certain way so that we can understand each other; but within that are built all sorts of sentimental codes, codes of authenticity, codes of certain kinds of emotion.
On 'The Grand Budapest Hotel' I must insist that the sounds of the instrumentation are crucial to reflect what the movie should convey in terms of energy and emotion. It's not just the melody or the tune.
Beauty ought to look a little surprised: it is the emotion that best suits her face. The beauty who does not look surprised, who accepts her position as her due - she reminds us too much of a prima donna.
I've always used my own personal emotions and things that I've gone through in my life to build a character. The work that I do before a film feels almost like therapy, between me and whoever I'm playing.
My films express me, my sense of rhythm, my sense of impact, my sense of kinetic energy. I like films to move, but I like also clear storytelling and characters, and most of all, I like authentic emotion.
Matt Wilson, the colorist, has this great palate [in Paper Girls] that brings up all these emotions and this feel of the '80s without being actually as kind of as bright and primary as it could have been.
I haven't got the kind of discipline where I can turn my emotion inside out and then just switch off. It affects me fairly profoundly and I don't like putting myself through that kind of mincer every day.
The single most influential force that controls your attitudes, beliefs, capabilities and emotions is repetition - the words you silently use, over and over again, in your internal dialogue with yourself.
The definition of a musical is that the emotion is so strong that you can't talk anymore, you have to sing. The emotion isn't strong enough when you're just like, 'Let's take a second to sing about lamps!'
In order to understand the stock market we have to realize that, like anything enormous and inert, it's fundamentally stable, and, like anything emotion-driven, it's volatile as hell. Got that? Me neither.
I try to give each performance my own soul, to bring a truth to my character. Hopefully, when I bring that much truth to a character, it resonates with somebody, and it sparks some kind of emotion in them.
When I met Peter Weir, we did a movie called 'Master and Commander' together, and that's when I really started to understand the power of acting, the power of directing, finding the emotion in performance.
It's wonderful to move forward technologically, but we cannot forget that we are human beings who thrive on relationships, who thrive on interconnectivity, who thrive on sharing your feelings and emotions.
The type of music I make, it's not just straight-up rapping. There's emotion in it. That's why people feel each song differently. I get all my vibes from rock music, you know? All my melodies and all that.
The thing that I enjoy about being an actor and the thing that I enjoy about the arts in general is the ability to make the audience feel an emotion that they weren't intending to feel before they went in.
I try not to repeat a story. I try not to repeat an emotion. I want it to be all sort of new for the viewers and to challenge myself as a writer, so there's always pressure. What else can you come up with?
I find rage to be the scariest emotion as an actor, for me personally, to tap into. I don't like anger, and I don't like conflict particularly in my life. I like everybody to be nice and things to be easy.
I do have moments when I feel insecure. I do have moments when I feel jealous, and that's normal. It's a very normal emotion. It's your action and your attitude and your reaction to that that is important.
The current of emotion, which was formerly directed to gaining eternal bliss, is turned in socialism - in the same degree as the latter is permeated by evolutionism - towards the perfecting of earthly life.
I grew up in a family that despised displays of strong emotion, rage in particular. We stewed. We sulked. When arguments did occur, they were full-scale conniptions, and we regarded them as family failings.
The Auto-Tune makes everybody sound the same and takes away all of the emotion because you're singing through this machine, and of course your taking all of this emotion out of your voice for the most part.
I don't want to make a cheap analysis, but when you have, like I did, a father incapable of showing emotion, who spends his life telling you that no one will love you if you aren't perfect, it leaves scars.
In film, it's very important to not allow yourself to get sentimental, which, being British, I try to avoid. People sometimes regard sentimentality as emotion. It is not. Sentimentality is unearned emotion.
Like the marriage contract you entered into, your divorce is a legal transaction. Treat it that way. Try not to let emotion, hurt, fear or anger dictate the circumstances of your discussions or negotiations.
Why is it you can never hope to describe the emotion Africa creates? You are lifted. Out of whatever pit, unbound from whatever tie, released from whatever fear. You are lifted and you see it all from above.
If an employee told you he had the flu, you'd send him home. If an employee told you he was feeling anxious, you'd probably tell him to get back to work. But the emotion is just as contagious as a flu virus.
Mastering our emotions has nothing to do with asceticism or repression, for the purpose is not to break the emotions or deny them but to "break in" the emotions, making them teachable because they are tamed.
Like everything which is not the involuntary result of fleeting emotion but the creation of time and will, any marriage, happy or unhappy, is infinitely more interesting than any romance, however passionate.
If the universal is the essential, then it is the basis of all life and art. Recognizing and uniting with the universal therefore gives us the greatest aesthetic satisfaction, the greatest emotion of beauty.
Fear. People are afraid of talking about their fears and insecurities. They're afraid of expressing emotion beyond anger, dominance, or power, and they're afraid of getting in touch with their feminine side.
It's the emotion...each word has got a connotation and symbolism and the thing is finding what's behind the word-what meaning it has and what emotion. I'm really into vocal repetition as a definite art form.
A voice expressing emotion in a musical way moves on. It's like the finale of the movie 2001: A Space Odyssey (1968) - the world turns in on itself, as a universe unto itself, in the shape of one human being.
MONOSYLLABIC, adj. Composed of words of one syllable . . . Commonly Saxon - that is to say, words of a barbarous people destitute of ideas and incapable of any but the most elementary sentiments and emotions.
Opera tells stories through the pure emotion of music. An exhibition has to tell a story purely visually. I've tried to incorporate both of those things - pure emotion and being more visual - into my writing.
As scary as it is, I like making real, direct eye contact with people from the stage. In a sense, it's like modeling: that feeling of locking in and projecting some kind of emotion to try to captivate people.
That's also why comedy and horror are my two favorite genres of film to write, because you get these outbursts of emotion from people, laughter and shock, and it's really thrilling, and I like to be thrilled.
Huamns, uregulated, are cruel and capricious; violet and selfish; miserable and quarrelsome. It is only after their instincts and basic emotions have been controlled that they can be happy, generous, and good.
Songs like 'One Love' by Bob Marley - they stand the test of time - it doesn't matter - so anytime I write music, I try to write in tune with an emotion, and I hope there are more times like that for everyone.
I discovered that silent film is almost an advantage. You just have to think of the feeling for it to show. No lines pollute it. It doesn't take much - a gaze, an eyelash flutter - for the emotion to be vivid.
I hoped the dramatic power of the play would rest on that tension between elegant structure - the underlying plan is that you see the first and last meeting of every couple in the play - and inelegant emotion.
In real life, you don't know what's going to happen to you, so why would your character know? It's liberating to play the emotion your character is feeling at the time and not know what's coming up. I like it.
Like all sciences, chemistry is marked by magic moments. For someone fortunate enough to live such a moment, it is an instant of intense emotion: an immense field of investigation suddenly opens up before you.
I think I land somewhere between Scorsese and Capra in what I'm drawn to emotionally; I'm drawn to very intense emotion. Capra freaked people out when they saw Jimmy Stewart lose it in 'It's a Wonderful Life.'