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.
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.
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.
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.
'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.
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.
I think, in all honesty, the first place that someone in emotional distress should turn is their loved ones, and then to use professionals.
You're not to wallow, but if you don't process your regrets, then they remain emotional underground toxins.
What I've come to realize is that emotional intelligence, which I define as buoyancy, was the only way I knew how to lead, and is, in my option, the only way to inspire real change.
Once you reach people on an authentic emotional level, they will reward your faith in them with their belief in you, and they will mobilize to get the job done.
When someone comes to me seeking help I want to learn everything I can about them. I'm interested in their physical, emotional, interpersonal, social, sexual, economic, and spiritual aspects of their well-being. I want to know about their hopes and dreams as well as their stresses, fears, and challenges.
Symptoms like anxiety, depression, aggression, alcohol or drug use, are responses to physical and emotional pain that has its roots in traumatic experiences from childhood and later in life.
Every day has its emotional difficulties. I miss my mother whether I'm singing her music or not.
But there's also a strong emotional core to counterbalance the experimentalism, with some incredibly moving passages around the narrator's relationship with her (also female) German teacher. It's beautiful.
A great deal of it is mental, the ability to learn within the game, to perform at a high level - often with injury - and to weather the ups and downs of an emotional game through a 16-game season. Also, there is the willingness to prepare in the offseason, the film room, to learn the scheme and execute without a lot of repetition - that's football character.
A person deprived of beauty and pleasure puts me in mind of the Haitian notion of a zombie - a person disconnected from his or her soul, a person who works for others' profit but never his own, a person who mindlessly does the bidding of the boss and exists in an emotional and mental limbo.
I love traveling and I love seeing new places and meeting new people, but at the same time, it takes a certain amount of emotional strength to gel with that, at least for me.
My real motivation came from my desire for music videos to have the same equal soul-touching emotional resonance that straight music does.
Music videos are very concrete and rigid. They don't allow for emotional interaction.
For some reason, humans have this funny thing about where we came from - it always has far more emotional weight than where we are.
I knew that the principle objective of my film was to be a sentimental or an emotional study. What I did was kind of like subterfuge.
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