Best 3086 quotes in «emotional quotes» category

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.

The movie business is very much like that: people in authority making purely emotional decisions instead of interesting rational ones.

The music is the imperative. It has the upper hand. I think all music, even though it's an abstraction, does motivate a particular meaning. Then it's the job of the musician to honor that meaning and to somehow implement lyrical material that can accommodate that emotional environment.

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.

The need here is professional closeness tempered by emotional distance.

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.

The neurotic doesn't know how to cope with his emotional bills; some he keeps paying over and over, others he never pays at all.

The new book is amazing. It's called, The Pleiadian Promise. I get emotional when I just connect to it, because it's really an amazing, powerful, powerful piece of work.

The novelist is the person who spends a lot of his or her day thinking about the human drama and emotional complexity.

The notion that I do my work here, now, like this, even when I do not feel like it, and especially when I do not feel like it, is very important. Because lots and lots of people are creative when they feel like it, but you are only going to become a professional if you do it when you don't feel like it. And that emotional waiver is why this is your work and not your hobby.

The novels I love, the ones I remember, the ones I re-read, have an empathetic human quality, or 'emotional truth'. This quality is difficult to fully define, but I always recognise it when I see it: it is different from honesty and more resilient than fact, something that exists not in the kind of fiction that explains but in the kind that shows.

Then the challenge is, once you left brain it and build it, then when you're on stage you have to know it so well that you can get lost in it. I don't want to be onstage looking like a robot, I want to be at the end of the day very emotional and what feels like someone being up there rather than reciting things. That's always the challenge, to analyze and then somehow lose yourself in something you absolutely know backwards and forwards. And nothing's going to surprise you, but you have to be surprised by it and let it surprise you.

The older I get, the more I realize the importance of exercising the various dimensions of my body, soul, mind, and heart. Taken together, these aspects give me a sense of wholeness. I want to be a whole human being rather than one who limps on one leg because I don't know how to use all of my parts. Intellectual, emotional, and physical activity are not separate entities. Rather, they are dimensions of the same human being.

The old story is true:Women have to be less emotional than men.

The one-sided exploitation of existential guilt is thought reform's trump card, and perhaps its most important source of emotional influence over its participants. Revolving around it are issues most decisive to thought reform's outcome.

The one thing that gives you faith is the fact that people can be apart physically but they can still have an emotional connection.

The one thing you can do that the audience can't do - all those smart people online in the chat rooms can't do - is deliver a satisfying emotional journey for a human being, for a character.

The only difference between fear and excitement is what we label it. The two are pretty much the same physiological/emotional reaction. With fear, we put a negative spin on it: "Oh no!" With excitement, we give it some positive english: "Oh, boy!

The only rule I have when writing is to try to tell the truth. That doesn't mean you can't exaggerate, edit, rewrite things to make them more dramatic. But emotional truth is what I look for in writing.

The only way to get what you're worth is to stand out, to exert emotional labor, to be seen as indispensable, and to produce interactions that organizations and people care deeply about.

The only way to deal with yourself as an actor is to follow the emotional truth of what you have to do under the imaginary circumstances. And as you develop you become confident. You come to believe in what you're doing and trust it because it's out of you.

The other thing is we have an incredible villain. And we worked very hard to have villains that are connected to the hero. They have an effect, an emotional effect. They never become out-of-this-world, crazy villains.

The outside conditions of your life do not make you feel either secure or insecure. One person may feel secure with practically no money at all, while another may feel insecure with a million dollars in the bank. Your feelings of security or insecurity are due to your emotional programming.

The past always looks better than it was; it's only pleasant because it isn't here.

The people who are unprejudiced, but who ... feel it is so hopeless there is no use trying ... probably do just as much damage to the emotional atmosphere in which we are facing the problem as the fanatical Negrophobes.

The person who's receiving the food cooks as much as the chef. They have a very important role to play... There's no other activity that the person who receives it can destroy the work, can participate in how it's being done. It's emotional. Sometimes journalists are going to have to start talking more about the diners than the chefs.

The problem is that too many adults think their kids' lives are simple, or they try to make their lives simple, when their emotional lives are just as complicated as ours. They might have a few less tools to deal with it because they're young, but the emotions are all the same, and the subject matter is all the same.

The physical and emotional health of an entire generation and the economic health and security of our nation is at stake. This isn’t the kind of problem that can be solved overnight, but with everyone working together, it can be solved. So, let’s move.

The physical lot of surviving workers had notably improved, with unemployment insurance, social security, and the new health services, while their children's school education was assured by the government-operated schools: in addition, they had, for intellectual or emotional stimulus and diversion, the radio and the television. But the work itself was no longer as various, as interesting, or as sustaining to the personality.

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.

The profoundest affinities are those most readily felt.

The process of inner self-examination brings about a knowledge that is as rigorous and supported by evidence as anything science has to offer. At the same time, this point of view redefines faith as a knowledge that is attained not only by intellectual means, but also through the rigorous development of the emotional side of the human psyche. Such emotional knowledge is unknown to the isolated intellect and has therefore been mistakenly labeled as "irrational.

The psychological and physiological mechanism of love is so complex that at a certain period in his life a young man must concentrate all his energy on coming to grips with it, and in this way he misses the actual content of the love: the woman he loves. (In this he is much like a young violinist who cannot concentrate on the emotional content of a piece until the technique required to play it comes automatically.)

The psychological trauma of losing a job can be as great as the trauma of a divorce. It creates a lot of anger and emotional hardship. People may become quite depressed.

The proper place for liberality is in the realm of the emotions.

The propensity to make strong emotional bonds to particular individuals [is] a basic component of human nature

The punishment – to the body, the brain, the spirit – a man must endure to become even a moderately good boxer is inconceivable to most of us whose idea of personal risk is largely ego-related or emotional.

The problem of criticism is not judgment but evocation - conveying the particular emotional and visual feel that the movie has.

The purpose of bread and circuses is, as Neil Postman said in his book Amusing Ourselves to Death, to distract, to divert emotional energy towards the absurd and the trivial and the spectacle while you are ruthlessly stripped of power.

The question of how and why the encrustations and rigidifications of human emotional life are brought about led directly into the realm of vegetative life.

The reality is [in] any emotional situation, a compulsive eater eats or an alcoholic drinks. What people misunderstand is that when you're a compulsive overeater, you don't just eat when things are bad. You eat when you feel anything.

The real challenge in acting is in comedy. It's easier to get that gasp in a drama. Not easy, because you still have to find that emotional pitch. And when you do something in drama and you hear that sob from the audience it's so fulfilling. But as a comic actor, when the laugh is supposed to come and you punch in that line and nothing happens it is dreadful. It's horrific and you feel like dying right there.

The real challenge is to remember to see clearly when everything's flying around us and we're wrapped up in our [emotional] wounds and traumas.

There are, after all, approaches to be made other than the dependable routes that massage sentimental expectations and provide easy opportunities for emotional identification.

There are dimensions to me that are not just the thinking person, but the person who is much richer, the person who has other emotional experiences, psychological experiences, these experiences also enrich me.

There are a couple of writers I admired who were very good at giving the character's emotion without stating what that emotion was. Not saying "He was feeling tense," instead saying, "His hand squeezed harder on the chair arm," as if staying outside the guy. I wanted to try doing that. I wanted to have a really emotional story in which the characters' emotions are never straight - out told to you, but you get it.

There are all kinds of other things I could do, things I would probably like, but only acting would give me emotional fulfillment.

There are certain women who are sexually driven and they can compartmentalize it from an emotional attachment.

There are emotional ties to family that are connected to the sexual experience for women that are very different than men which does make it harder for women to date and not get hurt.

There are few humanities that could surpass in discipline, in beauty, in emotional and aesthetic satisfaction, those humanities which are called mathematics, and the natural sciences.