I handle emotional pain by trying to understand that it's going to be painful and to allow for it instead of fighting it. Doesn't make it any easier, though.
I do my best to allow myself to really feel it [emotional pain]. Cry. Get all in it. Really experience my experience so that I may move through it. And talk about it. I try not to let anything get brushed over and swept under the rug.
LA is an intense city. I was probably a bit too sensitive. I didn't have any friends so I was keeping pretty low key. I just whipped myself up into a bit of an emotional frenzy.
I like violence because I like looking at it and I like understanding emotional and physical violence and how they work with one another... It's operating in all these levels of hopefully - Oedipus is one of my favorite stories, that's like falling down a well when you read that - so that would be the hope, that each thing causes the next.
I had no idea what I was signing up for. I auditioned for some random character. I knew the sides were fake, but what they were trying to capture was an emotional toughness and a woundedness. I knew I liked the character. I didn't know who the character was, but I liked the spirit of the character.
The man was reportedly allowed to bring the turkey onboard as a therapy pet because it was an emotional support animal. It's so cute. It had one of those vests saying support animal, do not pet or baste.
There really still is a deep wound, you know, in the collective psyche of Pakistan. And the violence has left enormous human and emotional and psychic damage. That's not going to go away. But that said, I think I'm cautiously optimistic that we're looking at a better future.
I think his portraits of Jackie, Liz, Marilyn, Mao, Elvis, Lenin - and objects like the soup cans, the dollar signs, the hammer and sickle, it's all about icons. Its all about what people worship in an irreligious or secular world. In terms of Andy's personality and Andy Warhol as a human being who I was very close to, I still feel kind of sorry for him on a personal level. I mean, he was the ultimate example of great success wrapped around inner turmoil and emotional pain.
Anyway, when I finished the book, I handed it in, didn't want to read it again, but when it finally was in print I felt like OK, I have to read this. And yeah, I thought God, this is petty, this is silly, too emotional, too raw...and maybe it was then, but now it all seems that it's so much better because all the stuff that felt petty and silly now seems more relevant because Andy was so important.
Take away all the emotional baggage of any band's fight, be it The Beatles or The Stones, but in the end, you just enjoy the creativity. That's what the legacy is.
I no longer protect myself from the world I grew up in. Rather, today I try to protect the feelings I have for that world, the emotional space where my desire to write first took hold, and still grows.
The capacity for emotional sobriety belongs to everybody in the human family and leads to a fully human response to the adventure and goodness of the gift of human life.
It takes 90 seconds from the time we have a thought that is going to stimulate an emotional response. When we have an emotional response it results in a physiological dumpage into our bloodstream. It flushes through and out of our body in less than 90 seconds.
Illnesses are often times a reflection of an emotional place that needs healing or attention.
There is a vulnerability that any woman has in a situation where you're surrounded by men in an enclosed space. You learn through time different defense mechanisms, and it could be for protection, for emotional, physical, everything.
In ordinary life, the phenomenology of embodied emotions is an excellent example for dynamic changes between transparency and opacity: You can "directly perceive" that your wife is cheating you, or you can become aware of the possibility that maybe it is you who has a problem, that your "immediate" emotional representation of social reality might actually be a misrepresentation.
I love to improvise, but I always thought "Man, it's like the final frontier for improvisational actors, to really go for something emotional, something that's not just chasing the laugh."
'Son of Saul' film is extremely emotional; you're watching people walk in, you're watching people die. It centers around a child that goes into the ovens but survives the gassing.
I feel like the only person who has a chance against Alejandro González Iñárritu is Lenny Abrahamson. [The Room] was very awkward, very odd, very uncomfortable as it should have been. And then it became very beautiful. It tugged all the emotional chords beautifully.
It's interesting, for me sappy means sentimental and something that gets you in your heart, gets you emotional. That's what I mean. Also, of course, it means that I'm slightly setting up the audience that there's a bit of fun involved, as well.
I think, being emotional is this thing that people think you're not strong. They don't look at you as a strong person, and it's weird 'cuz honestly being emotional has nothing to do with your strength.
People just tell me I'm supposed to be sensitive, and I'm not. But I think I'm very emotional. I'm very caring.
I'm mad emotional. But my emotions are - I don't really get just like sad, I get hyper, and I be like mad, and I get hungry - that's like my main emotion.
A lot of the commercials that I was doing were very slice-of-life, emotional, documentary-style, not big and cinematic and ultimately like the kind of movie I wanted to make.
I think, in all honesty, the first place that someone in emotional distress should turn is their loved ones, and then to use professionals.
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