Except for events that carry great weight, it is not experience per se, but how they match expectations, that governs their emotional impact
Seize the very first possible opportunity to act on every resolution you make, and on every emotional prompting you may experience in the direction of the habits you aspire to gain.
The word 'heart' can refer to an emotional bond between people, and also to the precious faculty of empathy, an 'open heart', which means sharing the feelings of another and includes an outflow of goodwill towards our fellow humans and all life forms. This, of course, is what the Dalai Lama refers to when he says "my religion is kindness", and is closely related to the ability to feel compassion.
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.
I don't really identify with America, I don't really feel like an American or part of the American experience, and I don't really feel like a member of the human race, to tell you the truth. I know I am, but I really don't. All the definitions are there, but I don't really feel a part of it. I think I have found a detached point of view, an ideal emotional detachment from the American experience and culture and the human experience and culture and human choices.
Any successful corporation, if they adopt the three, they're going to be not just wealthy but they're going to be balanced. A lot of corporations adopt exercise, discipline, no affection. But you must maintain the three, because it's part of what you need. You need physical stimulation, you need mental stimulation and of course you need emotional stimulation.
People don't go to the movies to get the news, people don't go to the movies to learn a lesson. People go to the movie to get an emotional experience.
Women have a faith in themselves that is unpragmatic and in each other that's just emotional and f - ing strong. Both of those characters are criticized for being weak, for being subject to a man, but I think that that's a really bold and natural thing that we all want.
Contemporary art is based on that an artist is supposed to go into art history in the same way as an art historian. When the artist produces something he or she relates to it with the eye of an art historian/critic. I have the feeling that when I am working it is more like working with soap opera or glamour. It is emotional and not art criticism or history of art.
I think I started writing as a young person because I felt a lot of psychic confusion and emotional confusion, and writing was a way to sort it out. You know, to externalize it, sort it out, put it down, look at it, and hopefully it would become clearer.
Of all people, children are the ones that really understand when there's a truth there for them - an emotional truth. The characters really have to work. Children, as an audience, are very inspirational for me.
Excess consumption doesn't make people happy. We can continue to provide for our needs, but we can't continue the endless pursuit of ever more consumer goods. There is no energy source that can provide enough consumer goods to meet our human and emotional needs; there never has been, and that's why it's been such a fruitless pursuit.
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.
My first sense of myself was as an artist, a painter. I would see a Van Gogh painting and just love it, the more emotional and passionate the more it attracted me.
Emotional truth is the reward of digging deeply enough to find the truth about how one really feels, but in order to convey this truth with any force, or artistry, one needs to 'create' a form of expression, and this form determines its own "genuine information".
Yoga is something that once you start practicing it you learn a lot of breathing skills and I think that would really be incredibly useful on a day-to-day basis. It can help you with all the emotional stress.
For me the music is not so much anger as much as it is of passion. And I've always associated that kind of intense emotional output with music just because the nature of the music that's attracted me as far as live.
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 paradox is that, by children taking shortcuts through computer games, through fantasies, through movies that load on all the emotional stimulation of encountering life in a stylized way - all of this is the equivalent of mainlining of paleolithic emotions, emotions about combat, about personal success, about overcoming monsters, about making powerful friendships, about winning wars and entering new territory.
Absolutely, I think that is where a scent is so powerful because it harnesses our memory and our memory is a very emotional place. I do like the smell of excitement.
For me it's really tough because you have to go to that place where you really, really don't want to go to or revisit. After the first movie, when I was crying at the altar, whenever I would think about it, I would get chills for months after the first "Best Man" because I had to go to that place. And then, here we are with this one, and we are going to that place again. It's just extremely emotional to just have to keep revisiting it, but it can also be therapeutic.
But I'm not superstitious. I don't really eat dinner before I go on stage, because digesting a lot of food kind of shuts you down. And I try not to get involved in emotional conversations with anyone beforehand either, so I've got a clear head.
Audiences will see what they want to see. Some will come out, hopefully enjoying two hours of action. Some people will find themselves gravitating towards the emotional dilemma that the characters find themselves in. Other people will see that there is some layer of subversions to the storytelling aspect of poking a finger of judgment at certain governments to the idea of foreign invasion, others maybe false pretenses.
I think you approach a part the same way and just find out in what's making them tick and who they are. In a movie like this you may have a little less time and few dialogue scenes and exposition scenes for your character to really get that across, and so I wanted to be able to convey that she's not somebody who's just punching a clock but she has this weird emotional investment in her job to where she does get quite myopic and that's what makes her relentless.
I've tended to write lyrics alone. The emotion of the melody comes first. But what stimulates us are usually these dreamy minor chords. We all feel we're an emotional band as far as writing, but the specific emotions tend to be of a melancholic, or of an almost sinister-yet-beautiful nature. I never think of our songs as being about boy-girl relationships or ultra-female. The music comes from a universal place.
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