Quotes of All Topics . Occasions . Authors
Vocals are not central to what I do, and I've never liked singing live. I've always been more inspired by rhythm, texture, harmony than vocal melodies and lyrics. Plus, for me, I can better express my musical ideas through instrumental music than vocal music, the emotional interpretation of which can easily supersede the actual musical content or aim.
The movement for women's liberation was about an emotional transformation, an explosion, a feeling all over the country that things must be different, and ideas about how they should be. I think fiction can capture that kind of thing better than other genres because in fiction you can explore the feelings of your characters - the before and the after.
In the movie [Everybody Loves Somebody], the sister tells my character, "No, don't you want to be with someone?" I think the family - especially in this movie - they know that the reason that Clara doesn't want to have an emotional, intimate relationship is more because she was hurt so badly from heartbreak that she's then being closed off and cynical.
There are two kinds of comments that I get. One is, oh, you're such a natural up there, and the other one is, you're working hard up there. And the ones who say I'm working hard are teachers, they're the educators; they're the people who are the performers. It's a huge investment of my psycho-emotional energy to pull that off and to make it look smooth.
High-class kitsch may well be "perfect" in its form and and composition: the academic painters were often masters of their craft. Thus, the accusation that a work of kitsch is based not on lack of for or aesthetic merit but on the presence of a particularly provocative emotional content. (The best art, by contrast, eschews emotional content altogether.)
When we practice generating compassion, we can expect to experience our fear of pain. Compassion practice is daring. It involves learning to relax and allow ourselves to move gently toward what scares us. The trick to doing this is to stay with emotional distress without tightening into aversion, to let fear soften us rather than harden into resistance.
I love this idea of being able to touch people with something quite familiar, something quite emotional, and at the same time, have the feeling that this is a new way of doing it, a fresh way of showing things. I like radical people. At the same time, I'm fascinated by popularity, people who were able to have huge success and also keep their consistency.
I have enough friends who are gamers. I actually enjoy watching them play because of the visuals and the storytelling of the games. I just love being able to go on an adventure and games are just so sophisticated now that you can just get lost in a world for 20 hours and just be someone else in a very visceral, emotional way. And that's just fascinating.
Having cameras follow you is something that requires a little personal adjustment, but you actually do begin to forget they're there. It's impossible to maintain that awareness all the time, and when you're going through an emotional or absorbing experience, you really don't have any spare attention to think, "Got to remember that the camera is rolling."
Anger can serve a useful purpose if it is justified and directed appropriately. But when it's only a substitute for self-loathing and a justification for cruelty to others, the trigger in your brain can become horribly destructive and addicted to that emotion. It's like a tornado that blows away all of your pleasure and replaces it with emotional poison.
One reason that the task of inventing manners is so difficult is that etiquette is folk custom, and people have emotional ties to the forms of their youth. That is why there is such hostility between generations in times of rapid change; their manners being different, each feels affronted by the other, taking even the most surface choices for challenges.
[Childbirth] is the weirdest thing I've ever seen. It's like an 'Alien' movie. I started crying, it was so emotional ... I was there in the room but I wasn't planning on doing much. But then I see this blue pinhead come out and I think I said to the nurse, 'What the hell is that?' And then it turns into this round red thing in seconds. It's just shocking.
Most of what I read is for reviewing purposes or related to something I want to write about. It's slightly utilitarian. I definitely miss that sense of being a disinterested reader who's reading purely for the pleasure of imagining his way into emotional situations and vividly realized scenes in nineteenth-century France or late nineteenth-century Russia.
The President [Barack Obama] became quite emotional about transgender student rights, threatening to pull Department of Education funds from school districts that do not comply with federal regulations. Black children are suspended from school three times more than white children are, and there is no evidence that black children are three times as unruly.
Humans and other animals experience love and fear, and form deep emotional bonds with cherished companions. We mourn when a close friend dies, and so do other animals, as Barbara King's poignant book illustrates in compelling detail. How Animals Grieve helps us to connect and to better understand the complex social lives of other animals and of ourselves.
I think, to be specific, we got off the track when we concentrated more and more on production of things. Thereby, we created a split between intellect and emotion, because, in order to produce a modern technique, you have to use intellect, and we have created men who are very brilliant, who are very clever, but our emotional life has become impoverished.
When one read's Kierkegaard's profound analyses of anxiety and despair or Nietzsche's amazingly acute insights into the dynamics of resentment and the guilt and hostility which accompany repressed emotional powers, one might pinch oneself to realize that one is reading works written in the last century and not some new contemporary psychological analysis.
You really do think about it institutionally; this is your job, and to some extent you benefit from having a job to do at a moment like this. You have things that you have to make happen. And you don't have time for the emotional reaction that might otherwise occur if somebody was just sitting there watching these events unfold and had no responsibilities.
I can look back . . . at two distinct periods of opinion whose foundations I have successively come to distrust - a period before 1919 or so, when the weight of classic authority unduly influenced me, and another period from 1919 to about 1925, when I placed too high a value on the elements of revolt, florid colour, and emotional extravagance or intensity.
When a child shuts down his painful emotional side, he also loses the ability to express his joyous side. Emotions are a whole. With anger comes the ability to express delight; with sadness comes the ability to express lightheartedness. This is the breadth of emotion that allows an adult to experience intimacy with a spouse, with God, and with his children
I feel vulnerable sometimes - when I see an emotional scene, for example - and I remember what it took to get to that place, and I fear sometimes that everybody else can see that. You bare a part of you that makes you uncomfortable. I freely give it, I know, but I feel like people know something about me that I wouldn't otherwise give freely to a stranger.
I always listen to music when I write! I basically make a playlist for every essay; sometimes it's just one song, or three songs, over and over and over. I sort of find the emotional pitch of the piece, and then match music to it, and then the music becomes a shortcut to the feeling, so I can enter it and work anywhere: on planes, cafes, at work, the train.
Cooking is a holistic process of planning, preparing, dining and sharing food. I place food at the center of our humanity, as it nourishes not only our physical bodies but also our emotional and spiritual lives. Food is truly a cultural phenomenon that informs our traditions and our relationship with the earth. I genuinely believe that food connects us all.
I have vision boards, and people think that I put the vision board up and I look at it all the time, but what I do is, when I'm having an emotional time and I'm stressed out or feeling bad, I go to the store and get all the stuff for a vision board. Instead of channeling the negative thoughts or being depressed, I change it around and I start making boards.
My films are expressive of a culture that has had the possibility of attaining material fulfillment while at the same time finding itself unable to accomplish the simple business of conducting human lives. We have been sold a bill of goods as a substitute for life. What is needed is reassurance in human emotions; a re-evaluation of our emotional capacities.
TV is the only medium that I've ever been successful with in delivering really emotional messaging and I think as people are trying to work their way through what this changing environment is going to mean, playing to the emotional side as well as the pragmatic and the rational side is going to be something that a number of brands will want to fully explore.
A great deal of it is mental, the ability to learn within the game, to perform at a high level - often with injury - and to weather the ups and downs of an emotional game through a 16-game season. Also, there is the willingness to prepare in the offseason, the film room, to learn the scheme and execute without a lot of repetition - that's football character.
Part of me loves and respects men so desperately, and part of me thinks they are so embarrassingly incompetent at life and in love. You have to teach them the very basics of emotional literacy. You have to teach them how to be there for you, and part of me feels tender toward them and gentle, and part of me is so afraid of them, afraid of any more violation.
When you remain angry with another person, you give away your emotional control to that person each time you think of him or here. You allow him or her to control your emotions at long distance. By not forgiving, you allow that person to run your emotional life, exactly as if he or she were right there with you and the situation was occurring all over again.
Any successful corporation, if they adopt the three, they're going to be not just wealthy but they're going to be balanced. A lot of corporations adopt exercise, discipline, no affection. But you must maintain the three, because it's part of what you need. You need physical stimulation, you need mental stimulation and of course you need emotional stimulation.
When you have an emotional reaction to what you see, you are judging. That is your signal that you have an issue inside of yourself - with yourself - not with the other person. If you react to evil, look inside yourself for the very thing that so agitates you, and you will find it. If it were not there, you will simply discern, act appropriately, and move on.
A renaissance in cellular biology has recently revealed the molecular mechanisms by which thoughts and perceptions directly influence gene activity and cell behavior...Energy psychology, through its ability to rapidly identify and reprogram limiting misconceptions, represents the most powerful and effective process to enhance physical and emotional well being.
Modern liberalism, for most liberals is not a consciously understood set of rational beliefs, but a bundle of unexamined prejudices and conjoined sentiments. The basic ideas and beliefs seem more satisfactory when they are not made fully explicit, when they merely lurk rather obscurely in the background, coloring the rhetoric and adding a certain emotive glow.
For me, writing music is a way of processing the world. It's not a concrete thing, as in, "This piece is about giraffes." It's much more of an emotional sort of thing. I want people to find something out about themselves through my music, something that was inaccessible before, something that they were suppressing, something that they couldn't really confront.
[Action's] a Western thing. We think of the hero going into battle, rebelling against a government or an oppressor, but [in KUNDUN] action is nonaction or what appears to be nonaction. That's a hard concept for Western audiences. . . . We wanted to show a kind of moral action, a spiritual action, an emotional action. Some people will pick up on it; some won't.
HIV criminalization is a global trend, but surprisingly Canada has some of the worst HIV laws in the world - they have incarcerated 200 people to date who have not infected anyone, and half of them are black. This is emotional manipulation that began as an anti-immigrant measure and has devolved into an exploitation of sexual anxiety. It's a crisis of meaning.
Often, we separate intellectual discourse from emotional reaction. But I take such genuine pleasure in things that are intellectually well architected. It's definitely an integrated experience for me. Much more than any kind of cheap, emotional pulls that you get in popular culture, when I read a sentence and it's beautifully written, it can bring me to tears.
Leftists put in these emotional, illogical, and irrelevant terms, and they make people's hearts melt, "He's so wonderful. He cares about people." And so you get open borders, you get open borders in Europe. And, by the way, it's always a one-way street. Why are refugees incapable of shelter and love and compassion in their own countries? That's a good question.
I've been wanting for some time to find a way of stylizing cinema and trying to get closer to the emotional story I was telling and get rid of all the bumph that goes with it and allow the audience a more participatory experience. It was an attempt to do all of those things and to express the idea that all these people were just performing roles in their lives.
At the end of the day, it's all one version of telling a story. I treated this as if it was a two million dollar independent film. I did a lot more physical work than I'd probably have to do for a two million dollar independent film with four months of training and stuff. But as far as the character's psychology or emotional life goes, I treat it just the same.
Symphonies can generate a tremendous amount of sounds, beauty, and emotion. That is part of their human feel and sweetness. Keyboards, on the other hand, give us access to millions of sounds. When I put the two together, the result is unique, and it’s not only pleasing to the ear, but produces emotional responses that neither of the two can achieve on their own.
Our churches are filled with Christians who are idling in intellectual neutral. As Christians, their minds are going to waste. One result of this is an immature, superficial faith. People who simply ride the roller coaster of emotional experience are cheating themselves out of a deeper and richer Christian faith by neglecting the intellectual side of that faith.
And how do you know when you're doing something right? How do you know that? It feels so. What I know now is that feelings are really your GPS system for life. When you're supposed to do something or not supposed to do something, your emotional guidance system lets you know. The trick is to learn to check your ego at the door and start checking your gut instead.
Surrendered people enjoy life, relish their personal development, and value their friends. They may have an exceptionally good career and be wealthy, but they are more concerned with meaning and fulfillment. The drive to acquire money and power is a behavior that drains people of their passion and emotional connection to others. They can admit when they're wrong.
When my birth parents were murdered, I stayed outdoors all night with the bodies. Years later in America, around fourteen, my psychiatrist explained to me that staying with the bodies that night made me fearless. He said that it made me an 'emotional exhibitionist' and told me never to let people convince me that I was weird for speaking with clarity and passion.
We humans, once we have become emotionally invested in a homeplace, a prized personal possession, or, especially, in another person, find it immensely difficult to give them up....Because they were made at a time of life when we were utterly dependent on them, the love attachments of infancy have inordinate power over us, more than any other emotional investment.
Men as well as women, must strive for a balance of experience. Masculinity, defined as requiring the ability to act physically or mentally but excluding anything too emotional or nurturing, currently denies men this balance. Their ability to care is seen as inappropriate for everyday use, and a lack of desire for power or promotion are seen as signs of inadequacy.
In personal conversations between director and actor, the male directors that I've worked with are just as emotional. Maybe it's because I had to start having very intimate conversations with adult men at a very young age in order to get the work, but I'm really comfortable with dudes. I mean, we push boundaries in this business in terms of getting to know people.
Contemporary art is based on that an artist is supposed to go into art history in the same way as an art historian. When the artist produces something he or she relates to it with the eye of an art historian/critic. I have the feeling that when I am working it is more like working with soap opera or glamour. It is emotional and not art criticism or history of art.
The ability to double our biomass - not by waiting several million years and growing to be the size of an elephant - but waiting a few hundred thousand years for neurons to sprout into our brains - ones capable of having us create emotional relationships with other members of our species. We thereby double our biomass not by getting bigger, but by creating an ally.