What I think of as style - and I've gotten to this over years of really thinking about it - is that style is the unconscious choices I make.
I'm not reading what I write when I wrote. It's an unconscious outpouring that's a mess, and it's many, many steps away from anything anyone would want to read. Creating that way seems to generate the most interesting material for me to work with, though.
Our heart glows, and secret unrest gnaws at the root of our being. Dealing with the unconscious has become a question of life for us.
The other thing in composition is opening up the unconscious.
The point of psychoanalysis is to really understand the roots of your behavior. Understand why you are doing the things you're doing - and connect your unconscious to your conscious.
The major task of the twentieth century will be to explore the unconscious, to investigate the subsoil of the mind.
But I now think what I was doing, in a completely unconscious way, was getting off the turf where my husband and I might be rivals. We were both working in fiction... so I look back and I see that I consciously vacated the contested ground.
I once made myself black out by pulling G too quickly while flying an F-18. Being unconscious in a single-seat airplane is not good. Fortunately, I woke up in time. I learned how to better plug-in my anti-G suit.
Throughout the ages, stories with certain basic themes have recurred over and over, in widely disparate cultures; emerging like the goddess Venus from the sea of our unconscious.
Freud has shown one thing very clearly: that we only forget our infancy by burying it in the unconscious; and that the problems of this difficult period find their solution under a disguised form in adult life.
You can get anything online, including things that don't even exist. We've invented our own collective unconscious. The normal rules of time and space don't apply. It's held together by some other force than gravity. It's endless. It's like some unimaginably huge, messy novel that's writing itself both with and without us.
When you're mid-season, in very intense situations, it's hard not to take that home with you. Especially when you're sleeping, you can't control what you dream about. And it sneaks into the unconscious.
In these times - where social appearance is more important than spiritual substance - what has become our longing to change is really the unconscious desire to control not just the shape of our bodies (according to prevailing values) but to dominate our environment as well, regardless of the cost.
My daughter couldn't wake me up, so they called 911. They rushed me to the hospital. They drilled a hole in my head and wrapped a coil around my brain. I was unconscious for a week, and I was in rehab for two months - couldn't walk, couldn't talk. Now I've relearned everything. I'm so happy.
I think humans are fascinating in general. We're so weird. We do so many quirky things, and we don't even know it. There's just so many layers upon layers of nuances in everything we do, and the most fun part as an actor is trying to get into all those nuances, whether they're conscious or unconscious.
The truth is that our unconscious minds are active, purposeful, and independent. Hidden they may be, but their effects are anything but, for they play a critical role in shaping the way our conscious minds experience and respond to the world.
To express your emotions, you have to be very loose and receptive. The unconscious will come to you if you have that gift that artists have. I only know if I'm inspired by the results.
White supremacy is the conscious or unconscious belief or the investment in the inherent superiority of some, while others are believed to be innately inferior. And it doesn't demand the individual participation of the singular bigot. It is a machine operating in perpetuity, because it doesn't demand that somebody be in place driving.
The writing is the springboard for your intuitive stuff and then you see, maybe a colour of what you want to achieve. Then you bring in the technique you've learnt. But when you're on film, you're not always in control of that. That's what makes me believe in a kind of collective unconscious, a sort of experience you draw on.
It is inconceivable for our unconscious to imagine an actual ending of our own life here on Earth, and if this life of ours has to end, the ending is always attributed to a malicious intervention from the outside by someone else.
Suddenly, we are putting ourselves as the next dinosaurs. It's rather dark; we have narrowed our dreams. It is time to restore our visions. And so it's not a nostalgic idea; it is based with this unconscious need to restore a kind of dynamic for tomorrow.
Hypnosis is about shutting down the conscious mind and re-igniting the unconscious and the imagination, so while I give instructions to them under hypnosis, the contestants might interpret those instructions in all kinds of ways.
Man's task is to become conscious of the contents that press upward from the unconscious.
What works for me is simply to read a lot of stuff throughout the year - not with a particular story or theme in mind, but just because you never know what might be useful or interesting in the long run. I much prefer to just absorb a lot of stuff and let the old unconscious chew down on it over time.
No honest writer today can possibly avoid being influenced by Freud through his pioneering work into the Unconscious and by the influence of those discoveries on the scientific, philosophic, and artistic work of his contemporaries: but not, by any means, necessarily through Freud's own writing.
'Orphans' reflects unconscious elements in myself that were, at the time, indigestible and butting up against each other in my psyche; issues I wasn't really in touch with but was trying to put into a dramatic framework.
Prenatal education can only be an unconscious result of what the parents, particularly the mother, do. If, until the child is born, the mother acts in such a way that she expresses what is morally and intellectually correct, then what she accomplishes in her own continuing education will transfer to the child.
Our life is composed greatly from dreams, from the unconscious, and they must be brought into connection with action. They must be woven together.
You fall in love with somebody who fits within what I call your 'love map,' an unconscious list of traits that you build in childhood as you grow up. And I also think that you gravitate to certain people, actually, with somewhat complementary brain systems.
Acting isn't something you do. Instead of doing it, it occurs. If you're going to start with logic, you might as well give up. You can have conscious preparation, but you have unconscious results.
I have always been fascinated by the human mind, conscious and unconscious - that is what writing and reading is about, too. The why of your life and the why of your choices and the what has happened that you know and the what that you don't know is really riveting, and psychoanalysts share my wonder at how it all unfolds.
Being unconscious is the ultimate disability.
The violent quarrel between the abstractionists and the surrealists seems to me quite unnecessary. All good art has contained both abstract and surrealist elements, just as it has contained both classical and romantic elements - order and surprise, intellect and imagination, conscious and unconscious.
People often cover their mouths when lying. A hand on the mouth or even a touch of the lips shows you that they are lying because this unconscious body language represents a closing off of communication.
The multilevel, the conscious and the unconscious, is natural when I write scripts, when I come up with ideas and stories.
I was writing a scene where a guy was choking another guy to death. You can go online and type 'chokeholds' and watch scenes where martial artists choke each other out. You can hear what noises they make when they go unconscious, see how their bodies flop and everything. YouTube is amazing for the more detailed stuff.