For the first time I feel an inner emotional security. There is reality and dependability. My life revolves around Richard and the baby.
I think it's a little simplistic to explain a work through the psychology of its author. In other words, that Haneke has emotional problems, so I don't have to take his films seriously. By using this argument, the viewer retreats from the challenges of the film.
I went back to Kolkata around two years back after a gap of 14 years, and though the city had changed, the people hadn't. Everybody is cultured and knowledgeable there. I have emotional memories of the place.
There are a lot of things I do that I don't want to, but I have to. It's truly an emotional need for me to perform.
It's like my parents' musical tastes are the mother and father of my music. It's their fault for making me so emotional and in tune with my emotions!
The paradox of modernism is, writers make the decision to work with the continuous present, and to work with... stream of consciousness, as it's called, for emotional reasons, and the main emotional reason is verisimilitude. I mean, this is what surprises people: Life is not in the simple past.
I overthink everything. I'm just like, 'Wait, why do they want to hear me?' I start doubting myself. Other times, I'll just get so emotional during a song. Sometimes I'll cry while I'm singing. It's so weird. I'm such a baby.
The Civil War has a tremendous moral and emotional force.
I'm really not interested in acting as a facade, I'm interested in it as an emotional expression and as a transcendent experience for an individual. I find that a lot of people, a lot of young actors, haven't gotten to the point where they're comfortable being stripped down. They're still interested in ornate jackets.
It is a very beautiful story, 'The Crow.' It is a very tragic story with huge emotional themes.
Trust is the most important part of a relationship, closely followed by communication. I think that if you have those two things, everything else falls into place - your affection, your emotional connection.
For me, awards are a token of respect that people are giving me. So no matter how many awards I am receiving, I always feel emotional.
I'd say that 'In the Heart of the Sea' is the most challenging movie I've made. It was tough to figure out how to lead this large cast into some very sensitive, intense, emotional scenes.
The cost of evictions varies a lot, but it could be for landlords an expensive process as well. Among the costs for landlords as well is the emotional costs of an eviction.
I know I'd feel emotional if one of my favorite bands was going out.
What you can do with visual effects is enhance the look of the character, but the actual integrity of the emotional performance and the way the character's facial expressions work, that is what is going to be created on the day with other actors and the director.
In writing, I search for believability, simplicity and emotional impact.
The quality of one's emotional life changes over the years, doesn't it? But the basic instincts and desires, greed and hope, seem to remain constant. In the larger scope of things, there's a sense of fulfillment to living a creative life. So I guess that's what keeps me going.
So your emotional state really has a lot to do with what you're thinking about and what you're paying attention to.
If you don't like the people, you're just doing a sketch. Which, in most cases, is comedy minus some emotional backbone.
DVDs have their place, but the cinema is a tangible, emotional experience that I would hate my children not to have.
Women are more emotional, and it's natural to talk about it.
I experience psychic phenomena, so people think I must be crazy. But you have to be accessible and intelligent to be a good actor. I might not have gotten the best grades in school, but I have a very high level of emotional intelligence. You have to be open to receive.
My live show is almost like a meditation. An emotional apex - that's what I want it to feel like.
For me everything in the film was gradually building, becoming more emotional, so it helped. At the end of it all I was emotionally drained. At that point I took Rose's view, that this has to happen, there's nothing I can do about it.
I'm not an emotional person. I don't use the emotion train that much. I just use the happy card.
In a relationship I'm a very loving person, emotional and sensitive.
Children who cling to parents or who don't want to leave home are stunted in their emotional, psychological growth.
I always felt that, when I saw Denzel or Viola do scenes in their past films or past projects, that if it's a heavy scene, and it's requiring a lot of emotional weight, that we would have nothing but silence and incense burning in between takes just to keep things quiet.
Classic romantic love is an emotional attraction between two individuals in which they may share a heightened awareness of mutual adoration. Erotic love, traditionally, has been described as shared sexual attraction.
I'm trying to enlarge what I do with my voice, not through technique but just through the sounds. I think we all make noises, and particularly when we get involved or emotional about something, the colors and the tones of those noises change.
I am very proud of my role in 'Singularity.' It pushed me into the territory of period romance. It was a very emotional and challenging role.
Most of what I've written songs about are things that come out of the confusing emotional, spiritual and psychological period of time when you're going through puberty.
When you've got good writing, you can kind of give up all the research, in a way, and start just following the emotional integrity of the journey of your character.
No one writes about the emotional things you go through.
Mean doesn't last. Mean is over fast. Maybe this is the essence of everything, which is, to me, if there is no emotional center for what I'm doing, I have no interest in it at all.
