Quotes of All Topics . Occasions . Authors
The secret of being a writer: not to expect others to value what you've done as you value it. Not to expect anyone else to perceive in it the emotions you have invested in it. Once this is understood, all will be well.
For me, emotion comes first. If I have to change a scene, invent a scene, change dialogue, or put Graff by the lake in order to feel that dynamic, and the end results feels like 'Ender's Game,' then hopefully it works.
I need to let people know who I am and instead of just trying to make great records, just be honest and make it more personal and make it more passionate, to make records with emotion and not be afraid to express that.
Unwonted circumstances may make us all rather unlike ourselves: there are conditions under which the most majestic person is obliged to sneeze, and our emotions are liable to be acted on in the same incongruous manner.
As meditation deepens, compulsions, cravings and fits of emotion begin to lose their power to dictate our behavior. We see clearly that choices are possible; we can say yes or we can say no. It is profoundly liberating.
We see North Koreans as automatons, goose-steeping at parades, doing mass gymnastics with fixed smiles on their faces - but beneath all that, real life goes on with the same complexity of human emotion as anywhere else.
Be present as the watcher of your mind - of your thoughts and emotions as well as your reactions in various situations. Be at least as interested in your reactions as in the situation or person that causes you to react.
Perhaps writers should never be allowed to get together in a workplace context. It's not like studying computer science, after all. The emotions are at large, and are shared and are questioned. There is a vulnerability.
Human brains - in terms of cognition and emotion and consciousness - are essentially the same as they were at the time of Shakespeare or Jesus or Cleopatra or the Stone Age. They are not evolving with the pace of change.
With the first out breath, you are releasing worries, plans, mental tensions. With the second out breath, you are releasing physical tightness and tension. With the third out breath, you are releasing difficult emotions.
Marianne Williamson has written that there are really only two primary emotions in the universe, love and fear. So anytime you're feeling anxious, insecure, worried, angry or resentful, you've left love and entered fear.
I believe the Champions League has all that magic because it gathers all the best European teams, and that gives you the feeling of trying to be the best. That's why the Champions League has this special kind of emotion.
As designers, we do so much with material and construction. It's really architectural; it comes close to building. A scent is so immaterial. It's really about emotion and sensation. Clothes are too, but it's not the same.
The hallmark of a good comedy is that it can make you laugh, but it can also take you to the point where you're in love with these characters, and you want to see them be happy, and you want to feel that emotion for them.
I paint on the ground. I paint with sticks, with big paint cans, and whatever else falls in it. Basically, what I'm doing is capturing unbridled emotion and putting it on canvas. It's like capturing lightning in a bottle.
I don't know where the shape of a poem comes from. I certainly don't impose it. I write out of a jumble of emotions and vague notions and scraps of knowledge. At some stage a form or, rather, a shape mysteriously emerges.
Real laughter is spontaneous. Like water from the spring it bubbles forth a creation of mingled action and spontaneity - two magic potions in themselves - the very essence of laughter - the unrestrained emotion within us!
A lot of my albums that I've done, a lot of the songs have been the first take. It's before you mess with it too much - you can take away all the spontaneity and the emotion of something by trying to make it sound perfect.
When we make progress quickly, it feeds our emotions. Then, when there's a period of waiting or we hit a plateau, we find out how committed we really are and whether we're going to see things through to the finish or quit.
I recognize terror as the finest emotion and so I will try to terrorize the reader. But if I find that I cannot terrify, I will try to horrify, and if I find that I cannot horrify, I'll go for the gross-out. I'm not proud.
Twittering and blogging and all that is fine, but there is no idea of how to phrase something beautifully; how to use language to create an emotion. It's just passing information and sometimes very superficial information.
Human beings don't want to just enjoy something by themselves. They want to share that emotion - they want everyone around them to enjoy it like they enjoy it or hate it like they hate it. That's what makes a video spread.
What you don't want is for somebody to not care. Whenever they have no feeling at all, that's bad. Even if they kind of like you or they kind of don't, that's also bad. It's got to be a strong emotion one way or the other.
True religion extends alike to the intellect and the heart. Intellect is in vain if it lead not to emotion, and emotion is vain if not enlightened by intellect; and both are vain if not guided by truth and leading to duty.
Love is a strange emotion. It is ever evolving. Lust is transient. With time, one realizes that love and togetherness are two different things. Very few people are lucky enough to experience the two emotions simultaneously.
Composers most identified with the chamber music form are Corelli, Vivaldi, Haydn, Mozart, Beethoven, Schubert and, of course, Bach. Of course, Bach. If there is any one composer who gives us reason and emotion, it is Bach.
Music is my natural language. I have always had a form of dyslexia. I never studied music formally, so emotions come directly from the source into song mode. As a composer, it may be fortuitous. What I feel is what you get.
Woody Allen, when we did Vicky Cristina Barcelona, said to Rebecca Hall, "Do it one time happy, one time sad, and one time indifferent, as I won't know where you should be until I'm editing this, in terms of your emotions."
Generally, all my life, I have had strong friction with life - I was a problematic soldier, I was kicked out of the army, I was in fights. There was something about writing that was a way of experimenting with this emotion.
In every novel, I write about something - a place, an experience, an emotion - with which I'm intimately familiar, but it's also crucial to me that I take on challenges. If write only inside my comfort zone, I'll suffocate.
Horror and the unknown or the strange are always closely connected so that it is hard to create a convincing picture of shattered natural law or cosmic alienage or 'outsideness' without laying stress on the emotion of fear.
What they smell isn't the emotion of fear. What dogs can smell is the changes in a person's skin that suggest fear to the dog, anxiety, the way your skin sweats, the amount of uric acid that suddenly pours out of your pores.
We know from the truths of evolution and ecology that we are all related and interdependent. Anthropomorphism (crediting animals with human emotions and traits) is, however, outdated. Rather we know that we are like animals.
Prudence is what makes someone a great commodities trader - the capacity to face reality squarely in the eye without allowing emotion or ego to get in the way. It's what is needed by every quarterback or battlefield general.
I'm reaching for emotion and drama, the drama of the everyday: what happens when you don't have shelter, food, and clothing. There are some stakes. If you're displaced or evicted, there's a suspense: How will you solve that?
Beauty in art is truth bathed in an impression received from nature. I am struck upon seeing a certain place. While I strive for conscientious imitation, I yet never for an instant lose the emotion that has taken hold of me.
Music is an extraordinary vehicle for expressing emotion - very powerful emotions. That's what draws millions of people towards it. And, um, I found myself always going for these darker places and - people identify with that.
Actors who are lovers in real life are often incapable if playing the part of lovers to an audience. It is equally true that sympathy between actors who are not lovers may create a temporary emotion that is perfectly sincere.
The clock, for all its precision in measurement, is a blunt instrument for the psyche and for society. Schedules can replace sensitivity to the mood of a moment, clock time can ride roughshod over the emotions of individuals.
Choosing the narrator for a first-person story like 'Downriver' is a crucial decision because the voice has to be one the reader wants to listen to, and the voice has to be a match for the emotion you want the story to carry.
The only direction I can give to an actor, a good actor who knows his skills, is, 'Here are those words. They're yours. Make them yours. Don't tell the text but be the text.' That means you have to be the emotion of the text.
I focus on the elements of a movie that are meant to invisibly affect me as a viewer. The edges. As an author, Im aware of how the subconscious things can pluck at a readers emotions, and I love it when filmmakers do the same.
Oh, I get pretty fired up on the court. I try to play with a lot of emotion, especially when I'm playing in front of a large crowd. I want to go out and do my best, and to do that, I have to play with the most energy possible.
The way 'Coming Home' uses music in general is incredible, but the final song that really kind of crescendos all of the emotion that the whole movie has kind of been building to is this song called 'Once I Was' by Tim Buckley.
I'm a fan first and foremost. I get caught up in the drama, the emotion of what is happening, whether it's a boxing match, an MMA fight, a kickboxing contest, or a WWE matchup. I want to tell the story and paint more pictures.
I dread naming pieces of music because being instrumental, most of the time the songs that I write are instrumental, I want the listener to make up their own story as to what it is and get the emotion pure without using logic.
When I'm working, I'm so narrowly focused on sound, language, rhythm, flow, that I rarely feel the emotion of the text. It's only after - long after - I've finished a piece that I can experience in any way its emotional charge.
Emotions come first, and in the most direct sense: you first have an emotion and then have a feeling. But also first in the history of the human race, for the ability to have emotions long preceded the ability to have feelings.
I don't claim to be a great vocalist, but I know how to work my voice with its limitations. My talent is I know how to work what I have. It might not always be a picture-perfect performance, but what we look for is the emotion.
I love musical theater so much. When done right, I think comedy songs can be the most efficient form of joke delivery. Songs can be the most efficient and the best forms of conveying emotion. Music is universal. It's worldwide.