Best 9217 quotes in «feelings quotes» category

When I lived in Cookham I was disturbed by a feeling of everything being meaningless.But quite suddenly I became aware that everything was full of special meaning and this made everything holy... I observed this sacred quality in most unexpected quarters.

When I'm cynical, I seek out bands that are fully participating and trying to push something forward. Or I can just start playing music again - which is happening with a new project. But I think it's always a challenge to overcome cynicism and not get bogged down by a sense of nostalgia. That can be such a stifling feeling.

When I look back at The Judy Garland Show, I have such mixed feelings. It broke my mother's heart when they canceled it.

When I make music, I try to make something that is super colorful and something you've never heard before, so when you hear the whole album, it's a good feeling. Musically that's what I aspire to do whenever I'm making an album.

When I'm at the greatest odds with my body, it's usually because I feel my body's betraying me, whether that's been in the past, struggling with my weight and feeling that I couldn't eat what I wanted to eat, or that I couldn't get my body to do what I wanted it to do.

When I'm in northern Italy, I walk about feeling slightly less of a freak.

When I'm in the mode of feeling positive about love, I don't really feel the need to mark it down in song. In fact, I know what that song would sound like, and I would not subject anybody to that.

When I'm feeling a little empty in the head, I like to go see movies or read to loosen things up there.

When I'm hiring someone I look for magic and a spark. Little things that intuitively give me a gut feeling that this person will go to the ends of the earth to accomplish the task at hand.

When I'm feeling a little low, I put on my favorite high heels to stand a little taller.

When I'm feeling sorry for myself, I'll eat Lucky Charms cereal. I like having sugar when I'm in that mood.

When I'm on stage, my interaction with the audience is something that really makes me come alive. It's a feeling like no other. The energy of the crowd fuels something new inside. It reminds me to live in the moment.

When, in 1913, in a desperate attempt to rid art of the ballast of objectivity, I took refuge in the form of the square... the critics... sighed, "All that we loved has been lost. We are in a desert"... But the desert is filled with the spirit of non-objective feeling.

When I'm working, I'm not so much disciplined as obsessive. I have this feeling that I need to clear everything away and get this down.

When I pontificate, it sounds so, you know, Oh, well, she's preaching. I'm not preaching, but I think maybe I learned it from my animal friends. Kindness and consideration of somebody besides yourself. I think that keeps you feeling young. I really do.

When I read Spencer Madsen’s poetry, I not only feel awe because he’s so good, one of the best, but I also think about how everything in the world is happening at the same time, and how the world we get to know is so heavily edited down. It’s the hugest, weirdest feeling. I wish Spencer Madsen could be everywhere at once. I really love You Can Make Anything Sad.

When inward life dries up, when feeling decreases and apathy increases, when one cannot affect or even genuinely touch another person, violence flares up as a daimonic necessity for contact, a mad drive forcing touch in the most direct way possible.

When I paint a portrait I want to know more than just the looks of the person. I want to know how they live and what their feelings are... It then becomes more than just physiognomy, but the feel of the person.

When I read about myself and how writers have focused on negative stuff, it hurts my feelings.

When I really young yet feeling very old, I offered up a lot of myself to the press; I knew it was good copy.

When I saw music as a means to an end - more fame, more money, dating celebrities - that's when things have gone terribly wrong. Now my life is focused on just trying to keep making music. Because when it's really good, it's just the most remarkable feeling on the planet.

When I sit down with my notebook, when I start scribbling words across the page, I find out what I’m feeling.

When I smile at the audience, I'm not smiling because I was told that you're supposed to smile to the audience. I smile because they're all smiling at me, and it's a great feeling to see all these happy people out there, and it makes me happy to see them happy.

When I see a beautiful shell like that I can't help feeling a regret about what's inside it.

When I sing for myself, I probably sing for anyone who has any kind of hurt, any kind of bad feelings, good feelings, ups and downs, highs and lows, that kind of thing.

When I started teaching I realized that I had never had such a level of satisfaction and such a feeling of fulfillment and sense of contribution. Just like that. But, usually it's more cumulative, slow, evolutionary and less revolutionary.

When I started writing short stories, I thought I was writing a novel. I had like 60 or 70 pages. And what I realized was that I don't write inner monologue. I don't want to talk about what somebody is thinking or feeling. I wanted to try to show it in an interesting way. And so what I realized was that I was really writing a screenplay.

When I stepped away from the white pine, I had the definite feeling that we had exchanged some form of life energy. ... Clearly white pines and I are on the same wavelength. What I give back to the trees I cannot imagine. I hope they receive something, because trees are among my closest friends.

When it comes to satisfying our spiritual appetites, there is no such thing as excess. There are no restraints placed on us by God. There are no rules of temperance or laws requiring moderation or boundaries beyond which we cannot go in seeking to enjoy Him. We need never pause to inquire whether we've crossed a line or become overindulgent. You need never fear feeling too good about God.

When it comes to acting, it's about creating a character and bringing forth a director's vision. It's a weird feeling, because with acting, it's just not about me. I love being in that position, because with the music, it's always about me.

When it comes down to intuition, when it comes down to gut feelings about whether a song is right, you can get distracted with words, rationalization. There's nothing wrong with music school, but part of music school has to be the ability to forget all of it, too.

When I tried to imagine being beautiful, I could only imagine living without the perpetual fear of being alone, without the great burden of isolation, which is what feeling ugly felt like.

When I use electronic beats and program things, there's something quite brain about that - you're feeling it in your body but it's like a puzzle you wanna solve, and it gets very detailed. I really enjoy that side of music.

When I wake, I have a brief, delicious feeling of happiness that is somehow connected with Peeta. Happiness, of course, is a complete absurdity at this point, since at the rate things are going, I'll be dead in a day. And that's the best-case scenario, if I'm able to eliminate the rest of the field, including myself, and get Peeta crowned as the winner of the Quarter Quell. Still, the sensation's so unexpected and sweet I cling to it, if only for a few moments. Before the gritty sand, the hot sun, and my itching skin demand a return to reality.

When it's all over and the on the air signs go off there isn't a more lost feeling in the world. The wonderful, exciting, even glamorous, studio is now just a room dirty with coffee cartons and cigarette butts.

When it's over you look up: the world looks the same but you are somehow different and that feeling lingers for days.

When I walk off the field exhausted, drenched in sweat, knowing I pushed myself to the physical, mental, and emotional limits, there is no better feeling.

When it's said and done, the one thing I want to leave on this earth is hope. I have felt hopelessness, and it's a terrible feeling. Hopelessness will destroy you. I want to bring hope to other people.

When I was 16 or 17, I remember kissing one of my first girlfriends, Kim Anderson, under a stairwell at Disneyland. I'll never forget that feeling.

When I was 16, I took the written driving test, just like everybody else did, and I passed it. Then the first time I was behind the wheel of a car, when I was a kid, it kind of freaked me out. I've always been a very anxious student of anything, and so not being able to process things quickly enough, feeling overwhelmed, I just got freaked out and so I just never tried again.

When I was about 17 or 18, I finally admitted to myself that I wasn't going to change. I didn't know what the consequences would be, but I had the definite feeling that it was going to wreck my Disney career

When I was a kid, I used to see apparitions and have hallucinations, and my entire perception of the world was badly disoriented. And I had kind of a chaotic childhood because of that. I've really hung onto it, though. Because I actually like those feelings.

When I was a little kid - and even still - I loved magic tricks. When I saw how movies got made - at least had a glimpse when I went on the Universal Studios tour with my grandfather, I remember feeling like this was another means by which I could do magic.

When I was a young person working, everybody was older than me, so I had to kind of keep up. I'd see every movie and listen to everything played, and read all the relevant books. Being an actor, it's kind of your job to know what came before you and how big your feelings are allowed to be.

When I was five I learned to read. Books were a miracle to me - white pages, black ink, and new worlds and different friends in each one. To this day, I relish the feeling of cracking a binding for the first time, the anticipation of where I'll go and whom I'll meet inside.

When I was a teenager, I thought how great it would be if only I could write novels in English. I had the feeling that I would be able to express my emotions so much more directly than if I wrote in Japanese.

When I was little, I had a feeling that I was going to end up being an actress. I spent a lot of time alone, I was a very shy girl, and I would pretend I was telling someone about this new role that I got.

When I was studying at Berklee, I got the feeling I couldn't play the [guitar] at all, because I could not use my own things as they didn't fit any set pattern. When I joined [Chico Hamilton], he helped me immensely to develop my own style. He never forced me in any set way. At all times, he encouraged me to be myself on the instrument.

When I was thirteen or fourteen I bought a paintbox with oil paints from money slowly saved up. The feeling I had at the time - or better - the experience of color coming slowly out of the tube - is with me to this day.

When I was younger, many of my romantic escapades were just a means of simply avoiding being by myself. I was afraid of feeling lonely, afraid I wouldn't know what to say to myself.