Best 3086 quotes in «emotional quotes» category

It's not enough to identify the Superobjective intellectually; you have to justify it, to find the emotional drive behind it. You need your own specific interpretation of the superobjective so that every time you think of it, it makes you emotional and drives you into action.

It's not hard to connect with the music on an emotional level and get inside the songs. It's odd, very vulnerable, and slightly embarrassing to be standing and singing and playing music in front of a bunch of strangers.

It's not like I'm narrating stories with music behind them. It's all kind of one thing. You hope you can provoke a specific emotional reaction, but in ways that aren't quite plain.

It's not like I prepare anymore, or have to think about my son being dead to get emotional. If you're working with a good actor and you're reacting off of them and you have a good script, it just comes organically. It's just stored in your body. So that emotion will just be brought out of you, as opposed to trying to force it.

It's not often that you get a chance in one role to do the glamour bit and then strip off all the makeup and reveal the real person beneath the façade. Usually, it's either a glamorous role or a raw, emotional role.

It's not that I'm necessarily looking for things that are so dark and emotional. But if I see something where the character goes through enormous change, it's very appealing to play all those levels, and that is probably going to involve some dark moments.

It's not the burden of your mate or anyone else to heal your emotional issues.

It's often frustrating when you're a war reporter and you're covering these places that far away. You're frustrated by making stories that people can't connect to in any way. It's hard for Americans to connect to Arabic-speaking Iraqis in refugee camps or Pashto-speaking Afghans in the countryside, and having a character who is a vehicle through which you're allowed to make these relationships really allowed us to gain in an emotional weight that was difficult for us to do any other way to make it all human.

It's often hard to determine, especially in early drafts, whether or not a story has a bona fide complication. Remember this: A complication must either illuminate, thwart, or alter what the character wants. A good complication puts emotional pressure on a character, promoting that character not only to act, but to act with purpose.If the circumstance does none of these things, then it's not a complication at all - it's a situation. This situation, or setup, might be interesting or even astonishing, but it gives the story no point of departure.

It's part of my job to maintain the emotional reality and the naturalism even when the atmosphere is contrived.

It's perhaps not so much how your amygdala is tuned that makes you politically extreme, but that your intrinsic nervousness makes you more responsive to things that might seem to threaten your particular social world. Education probably plays an important role in dampening that response by allowing the brain's frontal lobes (where much of the brain's conscious work goes on) to counteract the emotional responses with a more considered view, so explaining why education is invariably the friend of liberal politics.

It's quite similar to guitar solos, only with programming you have to use your brain. The most important thing is that it should have some emotional effect on me, rather than just, 'Oh, that's really clever.'

It's really amazing to be a part of something that people have an emotional response to, even though it's a network sitcom. When you get a chance to meet fans or interact with them, you realize that there are a lot of people who the show speaks to, and that they really get something out of it, beyond just laughing. That's really fulfilling.

It's really interesting that whenever you do something that is so out of character, like having an emotional outburst, that you don't get in trouble.

It's so important to realize that every time you get upset, it drains your emotional energy. Losing your cool makes you tired. Getting angry a lot messes with your health.

It's so interesting that humanity has to be defined by emotional strife or something. I don't buy into that.

It's the emotional punches that you can't see that are just overwhelmingly devastating to your heart - your moral fiber.

It's tremendous what can happen when suddenly you make an emotional connection.

It's very dependent on your state of mind. And your emotional state as well. And a lot of it comes pouring out, you don't really have that much control with it.

It's very easy to attack ourselves. Even comforting in its familiarity, but you must resist this urge at all costs. Dwelling on the past or your perceived flaws will do nothing but keep you under emotional house arrest and hamper your progress. Commit yourself to growth and reward yourself with kindness for choosing to do so!

It takes 90 seconds from the time we have a thought that is going to stimulate an emotional response. When we have an emotional response it results in a physiological dumpage into our bloodstream. It flushes through and out of our body in less than 90 seconds.

It takes a little bit of mindfulness and a little bit of attention to others to be a good listener, which helps cultivate emotional nurturing and engagement.

It used to be said that this country was a child-centered one. Nothing could be further from the truth. Children have been our lowest priority, both in economic and emotional spending.

It was a natural progression for me to write about Millenials transitioning into management but I found myself getting emotional as I wrote. I really do want to repay them for all they have given me. What better way than to help them transition to the next level of their career!

It was also her nature that caused her letters to avoid emotional pitfalls and confine themselves to relating the events of her daily life in the utilitarian style of a ship's log. In reality they were distracted letters, intended to keep the coals alive without putting her hand in the fire, while Florentino Ariza burned himself alive in every line.

It was all wrong, ugly, unhappy and coloured with cynicism, but nothing was tragic, there were no moments that could change anything or anybody. From time to time the emotional lightning flashed and showed a landscape of private misery, and then — we went on dancing.

It was blazing sunshine and I went on in a turquoise neck muff, glamorous dress and muddy boots and just had the best gig, really emotional. I've had emails from people saying that they cried. They promised it wasn't the drugs.

It was as if personality itself had a 'face'. This non-physical face of personality seemed to be the real key to personality change. It remained scarred, distorted, 'ugly' or inferior the person himself acted out this role in his behaviour regardless of the changes in physical appearance. If this 'face of personality' could be reconstructed, if old emotional scars could be removed, then the person himself changed, even without facial plastic surgery.

It was just like Howlin' Wolf. Once you arrive at the point that you understand it, the emotional factor is darker than some of the saddest blues stuff.

It was emotional when Chrysler sold out to the Germans.

It was great fun working with Pierce [Brosnan]. He taught me a lot in terms of professionalism and how to take care of yourself on these action movies. They're fairly long shoots and they're fairly physical and fairly emotional, so you have to maintain yourself and make sure you can make it all the way through. That's something I learned from him.

It was the nature of our relationship to be lusty and emotional, earthy and raw. The trust that held us together also opened us up to each other in ways that made us both vulnerable and dangerous. And it would get worse before it got better.

It wasn't like this happy-go-lucky experience, shooting Norman movie. It was something I kind of had to, sort of dedicate a certain level of focus and energy to kind of just stay in this headspace that would allow me to access - because it's also a very emotional movie at times. This was the first time I ever played a real character, a fully fleshed out, dimensionalized, multi-faceted character, as opposed to a part. There's not very much opportunity for somebody of my age and my look, so for a character-driven piece like this to come along is a rare thing.

It would be quite unusual for me to get deep into a project and then shitcan it. One of the advantages of having done this for a while is that I have a better sense than I used to of when something is or isn't working. Until I developed that sense, this was a pretty dicey career for me, both in terms of paying the rent, and emotional wear and tear.

I use color in terms of emotional quality, as a vehicle for feeling... feeling is everything I have experienced or thought.

I usually think of art as having a measurable content of nourishment, whether factual or emotional or whatever, and I try to make sure that whatever I do has as much nourishment as I can muster.

I used to scream at everybody at the beginning of my career. I'd get really emotional. I'd project all my issues about my parents and safety onto the executives, so every conversation where they gave a note was life or death and you don't love me.

I've always been very private, maybe because I discovered my mother, who is a wonderful lady, is very emotional.

I've always been a fan of melody and emotional melancholy, whether it was Rites of Spring or Tears for Fears or Neil Young. If I hear a song that has a sweet melody, I'm a sucker for it, whether it's Linkin Park or Little Richard.

I've always been a very passionate, sometimes overly emotional person. Sometimes things affect me more than they should.

I've always found that it's such an emotional experience, trying to find the good parts of a bad character or the bad parts of a good character, and in the end, most of these qualities are already there inside me.

I've always felt there were aspects of me that were monstrous, and you can either hide from it or confront it, embrace it and understand that those are aspects that make you unique and define you and motivate you. You can either overwhelm or overcompensate for them -- but they truly define you as a human being...So that life became a question of either dealing with this monstrousness in one way or another...One finds a way to understand and make friends with that monster and understand that that's the very thing that makes you who you are. That's your emotional and spiritual fingerprint.

I've been told by people who write historical novels that you just sort of write the emotional truth first, the story at the core, and then you go back and research it at the end.

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.

I've come to see our central nervous system as a kind of vintage switchboard, all thick foam wires and old-fashioned plugs. The circuitry isn't properly equipped; after a surplus of emotional information the system overloads, the circuit breaks, the board runs dark. That's what shock is.

I've got to stop getting obsessed with human beings and fall in love with a chair. Chairs have everything human beings have to offer, and less, which is obviously what I need. Less emotional feedback, less warmth, less approval, less patience and less response. The less the merrier. Chairs it is. I must furnish my heart with feelings for furniture.

I've had it with you and your emotional constipation!

I've just never seen a live event [like Oscar] where the emotional swings - it was just stunning.And it was interesting because, on one hand, "Moonlight" is one of these, like, generational pictures that you wanted to see win. But at the same time, if "La La Land" had won, I completely understood.

I've never felt anything that moves me as much as my piano. I'm an emotional player. I don't really like people. I prefer my piano to people. It's totally reliable and it's alive. I can hear what it's saying.

I've never been one of those people who has an extremely high level of crisis. I just don't need all that emotional drama.