Emotional Quotes
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I'm a big fan of Elmore Leonard, and I've read Ian Rankin, Christopher Brookmyre and so on. But I'd never read a crime novel that made me feel emotional at the end.
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I did not think that I was angry, but clearly anger was reflected in my writing. I did not think that I had been affected emotionally, but it was clear from my writing that I was still very emotional about the trial some six months after it ended.
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Success and failure are emotional and physiological experiences. We need to deal with them in a way that is present and calm.
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The neighbourhood is a place of...intrigue and emotional espionage, where when two people stop to talk on the street their tongues are like the two halves of a scissor coming together, cutting reputations and good names to shreds.
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'Cars 2' is about a character learning to be himself. There's times in our lives where people always say, 'Well, you've gotta act differently. You should always be yourself.' That's the emotional core of the story.
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The theater is a communal experience, and whatever the emotional connection between an audience member and the actors onstage, it ripples through the whole audience. Part of the fun of the play is being a part of that audience.
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Going back to Ireland involves at least six to seven emotional breakdowns for me per day.
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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.
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When I started writing at 18 or 19, I had a fear of anything autobiographical, but I've come to realise that my writing is very autobiographical at the emotional level.
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What I am interested in now is the landscape. Pictures without people. I wouldn't be surprised if eventually there are no people in my pictures. It is so emotional.
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The emotional masses of ordinary people who resented the Great Work, the bombs and bacteria and guided missiles, were coming to the surface. The were rising up - finally. Putting an end to super-logic: rationality without responsibility.
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While films are a very visual and emotional artistic medium, video games take it one step further into the realm of a unique personal experience.
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But I'm not interested in politics. I lose interest the microsecond it ceases to be emotional, when something becomes a political movement. What I'm interested in is emotions.
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I listen to music two ways: As a person, you have an instinctive, personal, emotional response. But as a music supervisor, you have a secondary response, which is, 'Will this sit well under dialogue?' 'Can people die to this?' 'Can people kiss to this?'
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Cancer is an emotional disease.
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Women are still in emotional bondage as long as we need to worry that we might have to make a choice between being heard and being loved.
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The limitation of riots, moral questions aside, is that they cannot win and their participants know it. Hence, rioting is not revolutionary but reactionary because it invites defeat. It involves an emotional catharsis, but it must be followed by a sense of futility.
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The nearer emotional life approaches to hysteria, to continual outward show, the less genuine it becomes. Feeling becomes equated with vehemence of expression, so that insincerity becomes permanent.
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Emotional 'literacy' implies an expanded responsibility for schools in helping to socialize children. This daunting task requires two major changes: that teachers go beyond their traditional mission and that people in the community become more involved with schools as both active participants in children's learning and as individual mentors.
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When I watch the Olympics I become such an emotional wreck. I've always loved the Olympics, be it the summer or the winter Olympics.
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I think that creative work, music in particular, is a conveyor of inner emotional life. I don't feel one way all the time, so I don't want my music to feel the same way all the time.
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Actors want to act; actors want to emote. It's like the emotional equivalent of tearing your shirt off and screaming to the heavens: you want to express, and you want to be seen to be expressing.
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When a person only knows abuse, they shift their whole emotional and spiritual life into the context of that abuse. If all you've ever known is to be hurt by the one that pretends to love you, then many times you go to the one who hurts you for love.
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What's interesting is that younger characters just have a more vibrant, exciting point of view on the world. They are more emotional, they are more dramatic, and they are just electric.
