I don't think there's much point in putting me a deep, dark, heavy, emotional film because there are people who do it so much better than I do.
J.K. Rowling is a talented storyteller, but she has also used the style and technique of modern television and cinema media, which seizes the imagination by pummelling it, bombarding it with powerful stimuli, in a rapid pace, with plenty of emotional rewards.
During the financial crisis, I worked with hundreds of executives who struggled as a result of their thoughts about job security. When their beliefs changed, so did their emotional experience - and they were then able to focus on the task at hand more effectively.
Stress is never a given. There are people who get divorced amicably. There are people who pack up and move with no emotional toll. There is no stressor 'out there' in the world. We experience stress - or we don't - depending on what we believe.
Before the famine, which was in the 1840s, that was an emotional turning point... There are various documents showing how the Elizabethan English, in particular, were shocked by Irish displays of affection, by the way women acted toward strangers, walking up and putting their arms around them and kissing them right full on the mouth.
Consciousness is, among other things, a spontaneous exercise in creativity. You are learning now, in a three-dimensional context, the ways in which your emotional and psychic existence can create varieties of physical form. You manipulate within the psychic environment, and these manipulations are then automatically impressed upon the physical mold.
My experiences always influence my writing, but usually only on an emotional level. I have experienced death of a family member and it's easy to dredge up those feelings and get them on the page.
Certainly when you're dealing with more deep emotional work and sensory work, for me it helps me to just stay in it.
Pain - physical, emotional and spiritual pain - is more than just a condition that needs to be silenced, numbed or "fixed." Pain in all its forms is also a message, a kind of distress signal to our hearts and minds. There are times when it's really important to tune into that message and just listen to it. When we don't listen, our understanding of the world gets more and more distorted, and we become capable of doing things we very often regret.
People cheat on each other in a hundred different ways: indifference, emotional neglect, contempt, lack of respect, years of refusal of intimacy. Cheating doesn't begin to describe the ways that people let each other down.
If you look at a farmer and his daily expenditure on existing energy services, it is much higher on an incremental delta basis. And then there is an emotional cost of not providing their kids with the right to educate. If you calculate these costs in economic terms and create a financing mechanism for them to buy it, the emotional delta cost is much higher compared to their household.
Any good relationship that I've had with an actor has always been so emotional and personal. If you don't have that then you're just lying.
It's hard to generalize about that subject because the women I've worked with have all been so different. But if there's one consistency, it might be that you do have to handle yourself differently on a set. Women can be more emotional - at least they sometimes show it more.
I knew it was going to be important that if I had an audience understand who she was, then all those things had to come from a place that was grounded, as opposed to being tics and manners and twitches. I didn't think it was going to be as rich, perhaps, as if I was going to make it more emotional.
I like women who have an opinion one way or the other or who have a great sense of humor and a great sense of adventure. I can be friends with women who are not like that, but I don't have that hard emotional connection.
Having emotional connections to things that don't really exist, like looking at a green ball and really loving that green ball, and being sad whether it's around or not. Stuff like that. I've never done acting at this level before so it was a huge challenge for me. It was a hurdle to overcome just to survive.
When I was exposed to the history and the cultural background of why women whose husbands die, why they have to become ascetic or live a life that is completely deprived of emotional or social or cultural sustenance, I was really shocked.
I think that when you create something or at least try to create something, you slither between excitement and pleasure and you understand this huge emotional frustration. You did one feat, then you go back one.
I don't consider myself very brave in any sense. I'm interested in this kind of behavior. My job is to try to make it realistic and emotionally resonant. That's the most challenging thing, to bring emotional resonance to what you do as an actor.
When I started out, the most terrifying thing was when I had to be very, very emotional in front of lots of people. Now I've kind of learned that it is very important to keep talking all day, keep making jokes, and be connected with people, and be present. It's very important for me to be absolutely present in order to be emotional. I learned that is sort of the way I need to be.
Valentine's Day is much more of a holy day of obligation for a guy in a relationship with a woman, because a woman has certain emotional expectations. Even if she doesn't value Valentine's Day, or views it as a corporate exercise, she still often wants her boyfriend or husband to go through the motions, just in case she values it.
I think that both musicals and opera have a capacity to get to an inner emotional landscape.
The ideas for my books come about in two ways. There can be an intellectual idea that seems to be the reason for writing the book. [...] The other motive is unconscious. There is something deeply psychological and emotional that draws me to the material in the first place.
I look for stories that tell transformative, emotional journeys, have big emotional worlds, feel very relevant and true to the times we're living in - even though they might be of a different time - have a sense of real intimacy with larger forces at work, where there's some kind of social injustice and inequity happening that needs to be conquered or addressed. I find historically that's the formula for a lot of successful operas.
We've always told stories through music and rhythm and movement, and what we know as western opera has only been around for a few hundred years and in different forms before that. There is great passion regardless of the fact that it's expensive and people who invest in it are giving money because they believe in it. They're not getting anything back other than satisfaction and enjoyment of hopefully many people having a human, deep, reflective and meditative experience that at its core is incredibly emotional.
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