Quotes of All Topics . Occasions . Authors
One of the ultimate challenges of biology is to understand how the brain becomes consciously aware of perception, experience and emotion. But it is equally conceivable that the exchange would be useful for the beholders of art, for people who enjoy art, for historians, and for the artists themselves.
Those of us in public office and those of us who aspire to public office have a responsibility to be reasonable, fact-based, in our rhetoric and to not suggest things that are unreasonable, to whip up a lot of emotion in public, which can lead to government overreach, fear, suspicions, and prejudice.
I have many favorite actors that have influenced me all my life and that are still idols and models to me. It would be extremely hard for me to narrow it down to a few because each and every one of them influence me in a different way, on a different level, with diverse things, emotions, or thoughts.
Even in my comedies, I don't take anger as a joke. I think anger and laughter are very close to each other, when you think about it. One of the things I like about a character: I always think it's fascinating when a character can turn on a dime and go from one emotion to another. I like watching that.
Number one, I am a true movie maker. And, you know, I am very much - I don't want to say infatuated, but I'm impressed with the art of making a movie and invoking emotion. You know, when I started making movies, I thought it was easy, and then when I got into it, I was like, 'This is not easy at all.'
Breathe in deeply to bring your mind home to your body. Then look at, or think of, the person triggering this emotion: With mindfulness, you can see that she is unhappy, that she is suffering. You can see her wrong perceptions. You can see that she is not beautiful when she says things that are unkind.
People either think Hodor is a very easy character to play or a very difficult one; there's no in between. But it's a lot of fun having to completely switch personalities inside four seconds, with no words. That's a joy for an actor to get to show all that complex emotion in such a short space of time.
There are two men in Tolstoy. He is a mystic and he is also a realist. He is addicted to the practice of a pietism that for all its sincerity is nothing if not vague and sentimental; and he is the most acute and dispassionate of observers, the most profound and earnest student of character and emotion.
The freedom of saying anything to him, telling all, relieved a burden I hadn't even realized I'd been carrying. In my relentless push to keep moving forward, there had been so many emotions I hadn't let myself inhabit fully, so many things I hadn't talked about. Now I couldn't quite catch up to myself.
When considering real-world issues, particularly those that touch on science and technology, it is harder to speak in platitudes or rely purely on emotion or fear. Substance, or its lack, becomes harder to mimic or mask, which is why I wish we had a true televised presidential debate on these subjects.
I think I have some ideas on coaching, but listen, coaches work harder than players. The hours they put in, the headaches that they have. That's the one thing I've never liked about coaching. They have all the emotion, passion and preparation without actually getting to be able to dictate what happens.
If I go into a studio and find my truth of the moment, there are a number of people in the world who can relate to what I'm saying and are going to buy into what I'm doing. Not because it's the new thing of the moment, but because it's genuine emotion. Its how I feel. This is how I articulate the world.
I look at my women with a Shakespearean element too - the variant of emotions they are capable of - it's not all completely dour, there is a bit of humor in there too! I actually think the whole Shakespearean world is wrapped up in every human being, from beauty to destruction and everything in between.
The reason I do photographs is to help people understand my music, so it's very important that I am the same, emotionally, in the photographs as in the music. Most people's eyes are much better developed than their ears. If they see a certain emotion in the photograph, then they'll understand the music.
I definitely use life experiences. For me, it's extremely hard to write about something I don't know anything about. If I've never been angry, then I can't write about being angry. We're human beings so we all have emotions. To just have that knowledge, it definitely helps me out as a singer songwriter.
If you take something out of the freezer, it's cold, but what happens when it melts? It's a cool party, a cool person, a cool collection. What does that mean? I'm more interested in things that are uncool, things that have a certain individuality, a certain soul, a certain longevity, emotion, fragility.
I think a lot of writing, or a lot of young writers, especially, hold themselves back unnecessarily because they're so upset about the idea that they might be sentimental or so concerned about being criticized that way or even being that way that they just shy away from any strong expression or emotion.
There are a lot of parallels between the historical Henry VIII and Jonathan Rhys Meyers. There's an oscillation and extremity of emotion throughout his repertoire that lends itself beautifully to the nature of Henry VIII, definitely. He will push things to the limit, and yet remain in emotional control.
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. Afterward, we withdrew from one another and tried our best to strike the event from our memories.
The aggregate of everybody's emotion, it's such a powerful thing. You can see it in the Trump rallies, where people - I just know, in their living rooms, would be better people - are driven to the worst possibilities by the bloodlust in a crowd. It just gets ginned up, and they're outside of themselves.
For me the most important thing to do in a selfie is to have an opinion and to say something with the picture. Don't just take a picture of yourself like, 'Here I am.' It's what are you thinking? Are you happy? Are you angry? Do you like it? Do you not like it? Think an emotion and apply it to your eyes.
I have the embarrassing thing where often if you're watching a film, you kind of go through the emotions and the thought stages that your character went through, but you sort of do it with Tourette's. So I end up often crying when I'm crying, and looking angry when I'm looking angry, so it's pretty ugly.
My concern 99% is about the storytelling, the emotion and all this. I never think about the format of anything until way far in the process and when we arrive to the fabrication of the thing then we start to say, "Okay right, what is the best thing we can do." I choose the car before to choose the color.
I try to make music with emotion and integrity. And authenticity. You can feel when something's authentic, and you can feel when it's not: you know when someone's trying to make the club record, or trying to make the girl record, or trying to make the thug record. It's none of that. It's just my emotions.
'Jesus of Suburbia' is such a dynamic song from start to finish; it's nine minutes of craziness and hectic-ness and emotion... It's one of those songs where I know that for the next couple of days, I don't have to go to the gym, because I got my workout running around the stage and thrashing to Green Day.
Music is a lot more powerful than anyone gives it credit for. I can sing something right now and make you feel something that you would not feel if I said it. If somebody can sing and connect to people just through voice, just through sonics, capturing an emotion, that's a direct string to somebody's soul.
The story is a machine for empathy. In contrast to logic or reason, a story is about emotion that gets staged over a sequence of dramatic moments, so you empathize with the characters without really thinking about it too much. It is a really powerful tool for imagining yourself in other people's situations.
When you have an audience standing and screaming the entire way through the short program and cheering every element you do, whether it's footwork, or spin, or a jump, to have that kind of emotion coming at you from every direction in the building, it's the most amazing sensation you can get as a sportsman.
If you get too deep into the history, what often happens to a lot of us actors is that we become stilted. We forget that we're reading about something that happened a hundred years ago. If we don't put the human emotion that would naturally be in there, we end up being stilted instead of being human beings.
Successful prime-time television of any genre produces some kind of emotional reaction in the viewers. There are a lot of different emotions to tap into. The emotion of the reward of discovery, the feeling of righteous anger, the feelings of pathos and sadness, or sentimentality of being moved by something.
I think that animals aren't less intelligent than humans, they're just of a different intelligence. We have five million smell-sensitive cells in our nose, they have two hundred and fifty million - they can smell emotion. They can smell different types of emotion, they just have another type of intelligence.
After the World Cup, the next two or three days there is a lot of celebration, a lot of obligation, towards the country, towards the French Federation, towards the fans. And then, after that, you feel so empty - mentally and physically. It's a long tournament; it demands a lot of energy and a lot of emotion.
I don’t feel brave, especially not right now. (Delphine) That’s what bravery is, especially for a woman not used to having emotions. When you feel deep, paralyzing fear and you don’t let it stop you, that is true courage. There’s never been bravery without fear. Just as there’s no love without hate. (M'Adoc)
There are things that directors know about me that people shouldn't know. But everyone's really different. I've worked with women who I've never wanted to tell anything about myself to, and I've worked with guys who have been pouring wells of emotion. So emotional availability is not a gender-specific thing.
Not alone to know, but to act according to thy knowledge, is thy destination,--proclaims the voice of my inmost soul. Not for indolent contemplation and study of thyself, nor for brooding over emotions of piety,--no, for action was existence given thee; thy actions, and thy actions alone, determine thy worth.
I’ll wait for you. Come back. The words were not meaningless, but they didn’t touch him now. It was clear enough - one person waiting for another was like an arithmetical sum, and just as empty of emotion. Waiting. Simply one person doing nothing, over time, while another approached. Waiting was a heavy word.
The whole point of 'Acid Rap' was just to ask people a question: does the music business side of this dictate what type of project this is? If it's all original music and it's got this much emotion around it and it connects this way with this many people, is it a mixtape? What's an 'album' these days, anyways?
I feel everything very strongly, and that is why I am an actress. I have made such clear connections between some of my chronic boo-boos in my body and emotion. It is kind of fascinating. I really feel like as a society, we need tap into that and embrace that more and more instead of wondering why we are sick.
Fragrance is important to me because of its emotional dimension. I feel like fragrances are able to transport, stir emotion, and bring up memories. You can wear makeup, you can dress yourself up, but fragrance gives a powerful aspect to how you can present yourself that you can't necessarily get any other way.
You have to understand that PTSD has to be an event that you experience, a very traumatic event. And actually, there is evidence that brain chemistry changes during this event in certain individuals where it's imprinted indelibly forever and there's an emotion associated with this which triggers the condition.
A painting lets us know how somebody literally saw things. A piece of music is another language that transmits a whole wealth of emotion and wordless experience. But writing is special in the way at allows us to temporarily enter another person's world, to step outside the boundaries of our own time and space.
Do not flinch from experiences that might destroy your beliefs. The thought you cannot think controls you more than thoughts you speak aloud. Submit yourself to ordeals and test yourself in fire. Relinquish the emotion which rests upon a mistaken belief, and seek to feel fully that emotion which fits the facts.
I've never been a heavy practitioner of the method or, at least, with any specific intent; I'm kind of an impulse-based person. Like, I'm sort of waiting for something to happen that I'm not expecting, and I kind of want to jump on that train of emotion, whatever it is, both from myself or from the other actor.
I want to break into the acting industry. It's something I have a great deal of respect for; it's a passion of mine. It's so amazing, the differences between acting and being an athlete, but the one commonality is they both evoke emotion in the viewer. And those emotions are real. So I think that's pretty cool.
I'm very heavily involved in the editorial post-production process, and the camera - it's just such a big part of my storytelling language. I like creating the tension; I like creating the emotion through the movement of my camera, or the lack of movement through my camera, depending on what fits the scene best.
Not all paintings are abstract; they're not all Jackson Pollock. There's value in a photograph of a man alone on a boat at sea, and there is value in painting of a man alone on a boat at sea. In the painting, the painting has more freedom to express an idea, more latitude in being able to elicit certain emotion.
Whether it's Brad Pitt up there, if there's a good moment up there, and you get pulled into the emotion, you're not thinking, 'Oh, that's Brad Pitt. He's an actor, and he's famous.' That's kind of the nature of storytelling, right? You sit around the fire and tell a story, and you can get sucked into that story.
What I really wanted to do was take this character and go beneath the veneer of Lucifer. Underneath it all, there was a guy who was a hurt soul and rejected from his father. How that played upon his choices was kind of interesting, but also it's going inside a shell of someone who doesn't know what an emotion is.
I find that it isn't wise to attempt to judge people on their public persona, and even on the music they make. Because I've met so many people whose music I cannot stand, and they're very nice. At the same time, I've met people whose music I've loved, and they're not the person you've invested all this emotion in.
I did read Indian scriptures when we could get the English versions, but the problem was I never took the time to learn the language. Really, what it comes down to is that I knew the emotion of faith; I knew what my parents were trying to teach me, but we always said 'No' when my mom was trying to teach us Punjabi.