Best 3086 quotes in «emotional quotes» category

In the course of my life, I've made some happy songs but it's the more sort of like pathos-laden, emotional, melancholic music that either I make or that other people make that really resonates with me.

In the end, leadership is not intellectual or cognitive. Leadership is emotional.

In the financial markets, hindsight is forever 20/20, but foresight is legally blind. And thus, for most investors, market timing is a practical and emotional impossibility.

In the final analysis, the incident is seen as originating from an emotional expression of the frustration and anger of the proud people of China who had been subject to ever increasing oppression from without and decadent corruption from within.

In the future, I will make certain that I commit to projects so there's enough breathing space for me to have an emotional life.

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.

In the modern industrialized Western world, where I come from, the person whom you choose to marry is perhaps the single most vivid representation of your own personality. Your spouse becomes the most gleaming possible mirror through which your emotional individualism is reflected back to the world. There is no choice more intensely personal after all, than whom you choose to marry; that choice tells us, to a large extent, who you are.

In The Shining, you love Shelley Duvall. You love Jack Nicholson. You're let into the intimacy of that violence and it's emotional and it's physical. We're let in very close. So I think a good horror film has to pull you in very deeply inside. Halloween is a good horror film because we love Jamie Lee Curtis, we're brought very deeply in right when she's babysitting the kids. She's going from house to house, all those houses have windows that you can look in. We're a very vulnerable and exposed audience.

In the short-run, the market is a voting machine - reflecting a voter-registration test that requires only money, not intelligence or emotional stability - but in the long- run, the market is a weighing machine.

In this country we're unprecedentedly safe, comfortable, and well fed, with more and better venues for stimulation. And yet if you were asked, 'Is this a happy or unhappy country?' you'd check the 'unhappy' box. We're living in an era of emotional poverty, which is something that serious drug addicts feel most keenly.

In 'Tintin,' it's like a live-action role. You're living and breathing and making decisions for that character from page 1 to page 120, the whole emotional arc. In an animated movie, it's a committee decision. There are 50 people creating that character. You're responsible for a small part.

In undeveloped social groups, we find very little formal teaching and training. Savage groups mainly rely for instilling needed dispositions into the young upon the same sort of association which keeps adults loyal to their group. They have no special devices, material, or institutions for teaching save in connection with initiation ceremonies by which the youth are inducted into full social membership. For the most part, they depend upon children learning the customs of the adults, acquiring their emotional set and stock of ideas, by sharing in what the elders are doing.

Investors should start with a view of skepticism. They should become intellectual investors rather than emotional investors. They should be careful, and they should be skeptical.

Investing is a negative game emotionally. If you're playing for the emotional satisfaction, you're bound to lose, because what feels good is often the wrong thing to do. When all the criteria are in balance, do the thing you least want to do.

Invisible airwaves crackle with life Bright antennae bristle with the energy Emotional feedback on a timeless wavelength Bearing a gift beyond price, almost free

In youth the life of reason is not in itself sufficient; afterwards the life of emotion, except for short periods, becomes unbearable.

In writing I search for believability, simplicity, and emotional impact.

I often pose questions to myself and want the answers. The questions may be psychological or emotional. Or they may involve botany or [...] physiology. [...] I am very curious about strangers I observe - as in a bus line. I am very attached to finding out answers.

I play damaged people a lot. I'm a Cancer. And I say that tongue and cheek, but I wear my heart on my sleeve. I'm a very emotional woman.

I personally like a little rehearsal, not if I'm gonna have a super emotional scene you wanna have it be a fresh thing.

I play drums, and I'd recommend it to anyone, except maybe your neighbors. It's great exercise - physical, mental, emotional, and social. It takes deep concentration but also activates concentration. If you're doing it right, it's always just a little harder than what you can actually pull off.

I prefer to be part of a positive statement. I'm not interested in the psyche of a serial killer. What I'm interested in is creating a situation in which people get some emotional exercise, which makes them feel like human beings and makes them understand that they are part of the human community with all its responsibilities.

I read the first book about five times while I was preparing for the role. I really wanted to completely embody Lissa and, naturally the book gave me much deeper psychological and emotional insight into Lissa than the script.

I put everything in that last lap, it was very emotional when I crossed the line. It was all I had, I gave it all.

IQ and technical skills are important, but emotional intelligence is the sine qua non of leadership.

I read "Milk" and immediately I was very emotional after reading it and then I saw the documentary - the one that Rob Epstein did - and I said that's it. I saw it with my daughter and that was it. This thing is a different thing. It's like I've been offered these kind of superhero movies or "Terminator" or whatever those movies are and I just go ahh.

I realized going back and writing and explaining in details the difficulties I had lived actually became emotional again. It's like therapy but sometimes therapy can be painful. But it's part of life and part of the autobiography so I'll have to finish it sooner or later.

I realize that there are certain hardships that only females must endure, such as childbirth, waiting in lines for public-restroom stalls, and a crippling, psychotic obsession with shoe color. Also, females tend to reach emotional maturity very quickly, so that by age 7 they are no longer capable of seeing the humor in loud inadvertent public blasts of flatulence, whereas males can continue to derive vast enjoyment from this well into their 80s.

I really like older British guys - I don't think any of them would ever have a problem with crying in front of a woman or saying "I love you" or "You hurt me" or emotional stuff like that.

I really feel our job as actors is to find a human experience in the character. So, for me, genre comes second; it's about script and the emotional journey of that character. Genre definitely has an impact, but it has more of an impact on the way the character is expressed. We all have the same core emotions of love, jealousy, rage - it's just how they're expressed.

I really like the complexity of jazz, the emotional depth; I feel like there's no other music that's really as satisfying as jazz.

I recently rewatched Stand By Me and was like, "Wow, this is so powerful because these young men are so vulnerable and so emotional, and love each other." That's a rare quality for a film.

I rehearsed it a lot underwater with a mouthpiece for Casino Royale and not freaking out, because you can't see a thing. It's like being in a really bad nightmare. I've never seen somebody drown, but I really swallowed water. It was like choreography. It was very emotional. I was crying underwater at one point.

I really dread serious people. Especially serious, dogmatic people. I regard them as sort of what Reich called the emotional plague. I regard them as very dangerous.

I really loved working on comedy. Most of my roles have been very dramatic and involved lots of emotional work and crying on cue. I do really enjoy those roles because you really feel accomplished at the end of the day but they are very emotionally draining! Working on a comedy show is just fun and at the end everyone is laughing! But I am open to all roles and genres just being on a set and being a part of the magic is what I love most!

I received Christ into my heart and my life began to change. But it was a gradual change. And I didn't see any flashing bulbs. I didn't hear any thunder. There was no great emotional experience. It was just saying: Yes, Lord Jesus, I want you to be the lord of my life.

I remember staying up all night waiting to see the first screening of Cape Fear because you knew that every time Robert DeNiro had a performance it was going to be revelatory. Then DeNiro hit this place, he seemed like he was done with the emotional cost of impaling himself like that, and he dedicated himself to comedy.

I remember watching Meryl Streep in, The River Wild. There's this scene where she's has a gun pointed at her, it's absurd in a lot of ways. Someone pulls a gun on her I think, I'm not really fully aware of the scene and she just, she starts, you see her terrified. And then all of a sudden she starts to burst out laughing. She starts laughing. Like she can't stop laughing. Because she's terrified and she's emotional and there are no rules to what you're supposed to feel. That to me is like A number one, that's the thing I have to remind myself all the time.

I saw him [Khizr Khan]. He was, you know, very emotional. And probably looked like - a nice guy to me. His wife, if you look at his wife, she was standing there. She had nothing to say. She probably - maybe she wasn't allowed to have anything to say.

I saw [Allen Ginsberg] more as an old man who liked poetry and who had a lot of physical and emotional problems. We liked our time together.

I soon found I could not talk about that in a vacuum without understanding the historical, cultural, political context, and giving it some legacy and some roots, and so then it just started to have tentacles that just spread out in all these places, and already a vicious project became pretty overwhelming in scope, and so it was a lot of diligent, day-to-day fighting with the footage, trying to get it down to a place where it was manageable and emotional.

I see my music as Emotional Therapeutic Pop music that bleeds into loads of different genres.

I should say that feminism gave me permission to deal with my own emotional life and put it up front in certain ways, or use film as a way to examine, at that time, my own heterosexual experience. Lives of Performers was the beginning of that kind of investigation. But also, the film was influenced by the aesthetics and structures of experimental film as that was taking place at the same time. Hollis Frampton was a big influence on me at that time.

I sort of set myself really high standards which is good and bad. If I know that I've done all I can to prepare, that's when I race the best and in '09 I was going through a lot of emotional ups and downs and I was never as fit as I would have liked to have been. So I never felt comfortable.

Is self-esteem a sickness? That's according to the way you define it. In the usual way it is defined by people and by psychologists, I'd say that it is probably the greatest emotional disturbance known to man and woman.

I started to concentrate more upon how the viewer looks at photographs... I would insert my own text or my own specific reading of the image to give the viewer something they might not interpret or surmise, due to their educated way of looking at images, and reading them for their emotional, psychological, and/or sociological values. So I would start to interject these things that the photograph would not speak of and that I felt needed to be revealed, but that couldn't be revealed from just looking at an image.

I stay healthy by dealing with things! Seriously, emotional and spiritual health is most important. I feel there is a lot of unhealthiness when we stuff our feelings out of fear rather than face them and deal with our issues.

I see it as my job to try to keep Bach in the mainstream and present his music with, rather than without, its emotional core.

I see this with experienced writers, too: They worry so much about the plot that they lose sight of the characters. They lose sight of why they are telling the story. They don't let the characters actually speak. Characters will start to dictate the story in sometimes surprising, emotional, and funny ways. If the writers are not open to those surprises, they're going to strangle the life, spark, or spirit out of their work.

Is it just me, or does every woman in New York have a severe emotional problem?