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British culture is very cynical sometimes of overt displays of sentimentality, and I think that becomes almost a suspicion of emotion, or a suspicion of someone making a grand statement. It is always easier to be ironic, or 'meta', or coolly postmodern. But I think there is such a thing as authentic sentimentality.
Cognitive neuroscience is entering an exciting era in which new technologies and ideas are making it possible to study the neural basis of cognition, perception, memory and emotion at the level of networks of interacting neurons, the level at which we believe many of the important operations of the brain take place.
I'm drawn to stories about ordinary people who get tangled up in an extraordinary event or idea or emotion. I'm not saying I don't love films about super-people or super-doctors, but my preference is for stories about how we get through this life, what it is to be human, because I'm always struggling with it myself.
I can recognize a good actor. I can recognize someone that can convey emotion and that has the essence and not get lost in the minutia of, 'Well, that person's got red hair, and so does the other.' Some of the decisions in casting that seem so important at the time, until you get on set and you're starting to shoot.
I get very tired of books that feel emotionally empty. I would much rather have writers err on the side of being overly sentimental than not. I think that the perfect balance is a story that moves you without being maudlin, but I don't enjoy books that are empty of emotion and there's no connection to the characters.
Of course, giving is deeply emotional. But supplementing emotion with research makes it more likely that a gift can have a bigger impact. It's like any investment. After all, you wouldn't put funds into stocks or bonds without understanding the potential return. Why wouldn't you do the same when investing in society?
Singing is a way of releasing an emotion that you sometimes can't portray when you're acting. And music moves your soul, so music is the source of the most intense emotions you can feel. When you hear a song and you're acting it's incredible. But when you're singing a song and you're acting it's even more incredible.
If you've ever been to a poetry slam, you know that the highest scoring emotion is self-righteous indignation: how dare you judge me. So in that way, the poem, 'What Teachers Make,' is an absolutely formulaic slam poem designed to allow me to get up on my soap box and say, 'Let me tell you what really makes me angry.'
There's this myth that there's no loyalty in football. Well, there's tremendous loyalty and emotion and respect that go into the coaches and players you've gone into battle with. But as an owner, you have to make the decisions that are the right ones for the organization, that are the right ones that will help you win.
When Finley gets his vaccinations, it kills me, and you can't protect yourself from that. My heart is being ripped out with every shot. It's a deeper level of emotion that I wasn't prepared to feel, but it's completely amazing. It has opened me up both as a person and as an actress. Everything has a deeper meaning now.
I have always been more of a joyous person than a sad person. But I was fortunate to have a mom and dad where my mom could look at my face and know what was going on and was able to get me to talk and draw it out. As a result, I didn't have to hide an emotion. I didn't have to worry about her telling me, 'That's silly.'
I try never to focus on the radio, just find great songs, find emotion and just write the best songs you can. I think when you get fixated on trying to do something too accurate, it becomes more washed out and less what you intended it to be. So I think each time the challenge for me is to try and reinvent a little bit.
In film, the camera can get an array of shots so the audience can see the emotion the character is giving off. Using close-ups on the character's face really helps get the message across. On stage, you can't do that. But the stage has that live feeling that you can't get anywhere else because the audience is right there.
My problem is, whether it's for emotion or for the talents that a character has to have in a role, I find it very difficult to not take on a challenge. For instance, 'Phantom Of The Opera,' in truth, scared the crap out of me, but I wasn't going to walk away and say, 'I didn't do that because I didn't believe in myself.'
While eschewing emotion - and its companion, vulnerability - Obama should be careful not to sacrifice empathy, the 'I feel your pain' connection that sustained Clinton. This connection is the shorthand people use to measure their leaders' intentions. If people believe you're on their side, they will trust your decisions.
Some of the greatest reality television we ever had was the moon landings. When you think about it, that was human emotion and people, unscripted, working with each other - and millions and millions of people around the world, glued to their television sets to share real-time in a brand new, fascinating human experience.
My biggest bits of advice are, write as much as you can, finish what you start, get a thick skin, don't take crap from anyone, but also live your life and have fun. The stereotype of a writer holed up alone all day is really unhelpful. You can't write real people and real emotion if you don't let yourself experience them.
Donald Trump, having spent decades in the public eye as an entertainer, may not understand what the nuclear triad is, or what America's 'first use' nuclear policy is, or why starting a trade war would be a disaster. But he does understand storytelling, the power of a clear narrative, and the importance of stirring emotion.
When 'The Walking Dead' has been its best, all that stuff is happening at once: the emotion, action, horror, scares. I'm very proud that I was able to write an episode where a little zombie girl could walk out of a barn after a horrific zombie execution and have people cry. That's one of the proudest things I've ever done.
If you're just addressing your own emotions and challenging yourself to find some sort of harmonious sense of being in life and questioning authority and questioning what's given and questioning what's expected of you, you're already on the cusp of finding something in yourself, and maybe waking something in somebody else.
I don't know about happy endings, because I don't think, eventually, anything is happy. You feel a bout of happiness with good news. Five minutes later, there could be a traffic jam or a phone call from an irritating relative or a weird thought, or it could be a tweet that annoys you, and your emotion will flip immediately.
Going to religious places gives me clarity. When I am sitting there, I am in a state of gratitude with my defence mechanism down and am open to receiving that energy, that gives me clarity as at that time, you are listening to your heart. The heart shows you the direction in life. The mind exists only to execute your emotion.
I never really approach any project or story thinking of themes first or what a certain character 'represents.' Maybe other writers do, but for me, it just starts with the characters and a certain emotion I want to convey. It usually isn't until I get deeper into a book and look back a bit that I start to see the themes, etc.
I play with a lot of emotion because I'm a passionate guy, and I play with that passion. I love playing that way. Sometimes you're late onto the ball, sometimes you're not. Sometimes you make contact with the guy when you tackle him, sometimes not. It's a sport where individual duels are vital, so I don't see it as a problem.
To me, what I love about the draft is; first, you see the young men who are realizing their dreams that they've worked so hard for. That's a pretty cool thing. You saw the emotion from some of these guys the other day. And then, the second thing is this total sense of hope and optimism. And, I think that's great for everybody.
I love anything by Joan Didion. Incidentally, she was one of the local moms when I was growing up in Point Dume. She always reminded me a little bit of my mother, so I feel a great affinity. I love the precision of Didion's writing. There's a construction and a craftsmanship to her sentences that's imbued with so much emotion.
My brother used to say that when you deal with women, it's difficult to remove emotions from an argument. I never really knew what he meant. Then I read an article that said when it comes to emotion and logic, men's and women's brains are different - my brother was right! Women are very mysterious, but that's part of their joy.
'Northern Exposure.' I loved that show; I loved the way it was able to have episodes where somebody finds a woolly mammoth, he calls the museum in New York, they send a guy out, and the mammoth's gone because someone ate it. To me, that was everything I ever wanted to do. That show mixed emotion, humor and the surreal all at once.
Julia's vocabulary was "chock-full" of strangely archaic words - "spiffing," "crumbs," "jeepers" - that seemed to have originated in some prewar girls' annual rather than in Julia's own life. For Jackson, words were functional, they helped you get to places and explain things. For Julia, they were freighted with inexplicable emotion.
Imagine the peace symbol. The peace symbol has three pieces in it. One piece is emotion, that's your body. Another piece has spirit in it, that's your fuel. Another piece has intellect in it and that's your steering wheel. You can never overdo the fuel that goes into the body, which is the emotions and the steering wheel to drive it.
That feeling in the dressing room after you win - nothing comes close to that. You can't get that in any other career. Maybe in the stock market back in the '80s when people were making tons of money, maybe they felt something similar. Maybe. But look at the market now. Nothing gives you that emotion like sports. Nothing. Am I wrong?
In the high-stakes and elitist world of music collecting and fandom, we operate from an ab ovo perspective. The seed, the first incarnation - that is the most pure, the most lauded. Minutemen trumps Firehose, Throwing Muses beats Belly, Joy Division over New Order, Operation Ivy ruled Rancid, Undertones instead of That Petrol Emotion.
Our lives are pretty calm. Merging on the freeway in the closest you get to risking your life. So what's missing now is that primal emotion of being scared to death, and I think that's why people crave thrills like roller coasters or scary movies. They give you the chance to feel this very primal emotion in a very controlled environment.
The measure of (mental) health is flexibility (not comparison to some 'norm'), the freedom to learn from experience ... to be influenced by reasonable arguments ... and the appeal to the emotions ... and especially the freedom to cease when sated. The essence of illness is the freezing of behavior into unalterable and insatiable patterns.
There's a lot of mythological stories you can tell. There's not just one. I appreciate all of those different kinds, but what I was personally missing was grand, classic, true-north hero. Pure and simple emotion, and also aiming for big time emotion, like love story as well, in a very sincere way. Like 'Superman: The Movie' had done for me.
You make something, and you really have fun with it, and you try to put emotion in it, and at the end of the day, you have no idea how the tide is going to fall. You don't know if everyone's going to like it, if everyone's going to hate it, if it's going to be like you're a media darling, or all of a sudden you're a sellout. You have no idea.
Look at the genres women like: a romantic comedy game doesn't exist. Few examples of a documentary game exist. What is the equivalent of a real drama game? They don't exist. Emotion with that complexity for a more mature, older audience are necessary to make medium-like video games healthy so it can be highly respected like the film industry.
The navel region is the centre of the vital. It is from here that the movements of the vital rise upward. Above the navel and behind the chest is the centre of the play of emotions and below this takes place the play of the physical. Mulādhāra is the base of the physical. In between the Mulādhāra and the navel, there is another centre of the vital.
People are starting to reflect upon the power of emotions on illness and I have always felt a direct connection between emotion and body. It is fascinating that neurologists are starting to tell their patients that yes, they are sick, the symptoms are there, but it is probably happening because an emotion is not coming out the way it could and should.
I spent so much time at Escuela Caribe denying my true emotions and avoiding conflict that I became unsure of what my feelings really were. This is something that affects me to this day. I feel extremely uncomfortable during arguments, to the point of shutting down and not saying anything, like a turtle retracting into its shell. I can't stand conflict.
For me, language is a freedom. As soon as you have found the words with which to express something, you are no longer incoherent, you are no longer trapped by your own emotions, by your own experiences; you can describe them, you can tell them, you can bring them out of yourself and give them to somebody else. That is an enormously liberating experience.
The Universe is abundant with everything that you want. It's not testing you. It's benevolently providing for you. But you are the orchestrater. You are the definer, and you do it through your joyous anticipation. If there is an emotion that you are wanting to foster, that would serve you very, very well, it is positive expectation. It is excited anticipation.
The presence of anxiety is unavoidable, but the prison of anxiety is optional. Anxiety is not a sin; it's an emotion. So don't be anxious about feeling anxious. Anxiety can, however, lead to sinful behavior. When we numb our fears with six-packs or food binges, when we spew anger like Krakatau, when we peddle our fears to anyone who will buy them, we're sinning.
Slowly, but very deliberately, the brooding edifice of seduction, creaking and incongruous, came into being, a vast Heath Robinson mechanism, dually controlled by them and lumbering gloomily down vistas of triteness. With a sort of heavy-fisted dexterity the mutually adapted emotions of each of them became synchronized, until the unavoidable anti-climax was at hand.
I approach my life with logic. I do not act on impulse or emotion. I very seldom find that I say, 'And then I can't think what came over me, but I did this or that or the other.' I nearly always know how I will act and I nearly always act in that way. I don't catch myself out in embarrassing situations because I've acted without forethought. I calculate what I will do.
In fiction you can make up everything to create the feeling. You can manufacture a story with whatever tools you want. With nonfiction you have to rely on what actually happened to describe what you're feeling. That's hard. You have to know what will feed into the emotion you're trying to convey. And that's hard because you don't necessarily know what causes your emotions.
Emotions weren’t created to just lie around. You should experience things to the full. I’ve got a sense of the clock ticking. We have to feel all those things to the maximum. Like, I don’t eat a lot but I really love eating. And I like being precise and particular. There is a certain respect in that. If you can do your day depending on how you feel, and enjoy things as well.
Happy is already a state, so if you create something that's happy... OK, wonderful... but when you're in a place of distress or trauma, there are so many more directions that can go in to me. Something that's happy can only truly go in one direction, whereas with something like distress, anger, trauma, there are so many more interesting possibilities that those emotions can create.
Brad Pitt seems to have no problem getting parts that he wants, nor does Angelina Jolie. Not that I'm saying I look like either of them, but I just don't think that it has anything to do with that. It's the emotions or characters you are able to take on that will get you work, not necessarily the way you look. Obviously, beauty can open doors - it is Hollywood, after all - but that's not enough.
The prevailing attunement is at any given time the condition of our openness for perceiving and dealing with what we encounter; the pitch at which our existence is vibrating. What we call moods, feelings, affects, emotions, and states are the concrete modes in which the possibilities for being open are fulfilled. They are at the same time the modes in which this perceptive openness can be narrowed, distorted, or closed off.