I think understanding or comprehension is probably the strongest emotion that you feel, or at least some kind of empathy.
There's something really special about childhood. When you're a kid, you're at your most creative, and you're very plugged into your imagination and emotions. But when you get older, you're encouraged to dance around your feelings and disengage, and I think it's crucial to fight that.
I would want my son to value himself as a person. To hold himself to a higher standard, and to not listen to all the stuff that's shoved down men's throats about what they're supposed to do and how they're not supposed to feel. I want him to know that he's a person and he's allowed to have emotions and be vulnerable. That doesn't mean he's not strong.
People say that the brain is a muscle and that one of the best exercises for any brain is learning another language and to switch from one to another as much as you can. I've found out that when I have trouble regarding any character or any particular scene in English, sometimes I'll switch to Spanish and I'll solve the problem that I've encountered. If I'm working in Spanish and I don't know how to approach certain scenes or certain emotions, or how to say this and that, I just switch to English to try to solve it that way and it works.
My mother was a champion Irish dancer and singer and most of my family were musical, particularly in Irish dancing. Music is all about spewing out your emotions. A mixture of a good tune and a good beat and everyone playing their guts out and something that grabs people's attention.
Intuition is the key to everything, in painting, filmmaking, business - everything. I think you could have an intellectual ability, but if you can sharpen your intuition, which they say is emotion and intellect joining together, then a knowingness occurs. Feeling correct is a feeling I think everyone knows.
You can keep raising it, but at some point, everybody who believes in a minimum wage will say, "No, wait a minute. That's too much," and at that point, you have demonstrated that that there's no market relationship. You're just talking emotion. You're just talking "fairness." You're just talking being nice, and that's not how the market works. People aren't paid a wage because they're being nice to, or because it's fair. In the market, the market rules.
What often seemed like meanness or coldness was really fear of emotions and intimacy.
It's not always easy to be transparent about your emotions and sometimes the music can get heavy.
Developing a full length feature is much longer process than developing a short. With features you're typically dealing with more characters, plot, emotion, story arc, etc. - a short is the same only much... shorter!
Leonardo da Vinci had such a playful curiosity. If you read his notebooks, you'll see he's curious about what the tongue of a woodpecker looks like, but also why the sky is blue, or how an emotion forms on somebody's lips. He understood the beauty of everything. I've admired Leonardo my whole life, both as a kid who loved engineering - he was one of the coolest engineers in history - and then as a college student, when I travelled to see his notebooks and paintings.
My problem is, whether it's for emotion or for the talents that a character has to have in a role, I find it very difficult to not take on a challenge. I need to say, "Okay, enough, take the easy road." But the easy road for me is not - it might just come out coincidentally. I wouldn't ever choose a movie because it's easy. I might choose a movie because I feel like being funny, or I feel like being able to do something that is perhaps dramatic, but to a lesser degree. Because I like switching it up, basically, not because I would take the easier road.
I think a lot of the time, the studio system is so compelled to kowtow to its fear that women are not going to be found sympathetic. It just sort of euthanizes any hope of more diverse examples of the emotional realities of people. Representing my gender, I think, "Well, I have those emotions, why don't those ever get brought to the screen so I can feel recognized?"
I've always been interested in tht notion of what is authentic and how we define that and why our culture imposes certain emotions and emotional constraints onto experiences.
Marianne Williamson has written that there are really only two primary emotions in the universe, love and fear. So anytime you're feeling anxious, insecure, worried, angry or resentful, you've left love and entered fear.
It's been proven that the thoughts we choose have everything to do with our emotions. I can tell you that a commitment to feeling good can take away a stomach ache, fear, depression, sadness, anxiety - you name it. Any stress signal is a way of alerting you to say the five magic words: I want to feel good. This is your intention to be tranquil and stress free - and it's a way of connecting to spirit.
I try to stop myself from getting frustrated. I'm not a hundred percent successful, but I'm a thousand times better than I used to be. Anyone who's angry, nasty or rude is really offering a plea to be loved. I play a game with myself, trying to convert them from what I call low-energy emotions that drain us - frustration, irritation, anger and impatience - into high-energy emotions that sustain us - love, caring, kindness.
One thing about skating that I don't think people focus on enough is the music factor. The music is a huge component of figure skating. It can dictate not only the choreography but the emotion. If it's not the right music it can ruin a performance.
I love finding new things. I love the conceptual aspect of Antony Hegarty or the voices of those back in the day like Lil' Kim, Missy Elliott, Ciara. I love what evokes emotion in me.
I think there's something in collaboration - the fact that you can sit there and bounce ideas off of someone. It definitely matters who the person is, because certain people... The act of collaboration, where you can talk to someone, hang out, get ideas going, there is something in that. That's similar between everyone. But I think every individual collaborator is different, because they have different brains and emotions and ways of working, so it changes. Definitely.
By county, there's like 14 different accents in Mississippi alone. And now, present day, a Mississippi accent is different than in 1963. So we had a dialect coach, which is like going to visit France and having to translate all your emotions into French, and French isn't your first language. I had to go through that filter, so it was interesting.
The fact that perfume is so close to emotion, that's why I really love it. It's such a good connection between people. When you fall in love with somebody, smell is very important. It could be your memory of the person - it's touching. And it's also playful, because sometimes you choose a different perfume every day depending on your mood. I like to help with that. I like to give a little joy to people.
My mother said I was always an intense child, a very sensitive child. So that probably helped the emotions to be very present. I was just a big thinker. I would evaluate and analyze and feel and cry and discuss and be angry. All of those emotions were very surface for me.
Every song is like a reflection of some emotions and words that we wanted to say to someone else, or some currents of life that went through our brains.
I have been heavily criticized in the past at magazines for my black-and-white photography and the aggressive punch - I prefer to call it strong emotion - to the pictures. When everything is virtually disposable I feel these pictures really stand out.
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