Raymond Williams Quotes
If from poetry we expect a succession of signals for the release of miscellaneous private emotion we are likely to find Tears, Idle Tears valuable.
Quotes to Explore
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I am not fearless. I get scared plenty. But I have also learned how to channel that emotion to sharpen me.
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Film has always been a really good tool for me to communicate emotion about why I create a collection. I'm probably one of the first designers to make short films.
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We completed and released 'No Code' in 1996. We began some off and on touring for that release.
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Love isn't an emotion or an instinct - it's an art.
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All my career, all that I've really done has been based on emotion and intuition and gravitating toward what sounds good.
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'Can't Get Closer' I originally recorded in about half an hour, just on my bed with a microphone. I actually re-recorded the song with a cleaner vocal take, but I decided to leave the demo version on there, just because I felt that instant where it was created is what captured the most emotion.
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Fear is our deepest and strongest emotion, and the one which best lends itself to the creation of nature-defying illusions.
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A lot of magic happens when you put out a publicity release. I have launched many products with the money I got back from my publicity release.
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Fear is the one emotion that unleashed can destroy anything and anyone.
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I think in terms of emotions. And feelings. So sometimes what I say may not always be clear. But creatively, there's a lot to be said for that way of thinking.
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Music is truly love itself, the purest, most ethereal language of the emotions, embodying all their changing colors in every variety of shading and nuance.
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Whatever is expressed is impressed. Whatever you say to yourself, with emotion, generates thoughts, ideas and behaviors consistent with those words.
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Anger is a wasted emotion.
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The magic is as wide as a smile and as narrow as a wink, loud as laughter and quiet as a tear, tall as a tale and deep as emotion. So strong, it can lift the spirit. So gentle, it can touch the heart. It is the magic that begins the happily ever after.
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The musical emotion springs precisely from the fact that at each moment the composer withholds or adds more or less than the listener anticipates on the basis of a pattern that he thinks he can guess, but that he is incapable of wholly divining. If the composer withholds more than we anticipate, we experience a delicious falling sensation; we feel we have been torn from a stable point on the musical ladder and thrust into the void. When the composer withholds less, the opposite occurs: he forces us to perform gymnastic exercises more skillful than our own.
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You can't but know that if you can capture the emotions of the audience as well as their minds, the play will work better, because it's a narrative art form.
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All perception is colored by emotion.
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Find what gave you emotion; what the action was that gave you excitement. Then write it down making it clear so that the reader can see it too. Prose is architecture, not interior decoration, and the Baroque is over.
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Besides, in this random miscellaneous company we may rub against some complete stranger who will, with luck, turn into the best friend we have in the world.
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Most couples have not had hundreds of arguments; they've had the same argument hundreds of times.
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Vision, even for a dragon, is woefully unreliable. What you can see with great clarity may not be real; what you cannot see may be the ultimate reality.
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If from poetry we expect a succession of signals for the release of miscellaneous private emotion we are likely to find Tears, Idle Tears valuable.
