It's not that I'm necessarily looking for things that are so dark and emotional. But if I see something where the character goes through enormous change, it's very appealing to play all those levels, and that is probably going to involve some dark moments.
I'm an incredibly emotional person, but I always feel bad about that. The work is therapy... I need to emote wildly while I write. I weep. I'll laugh, get excited, and get up and pace. I try to take the emotional journey with the characters.
I think you can be happy and still be competitive. A good lesson for everybody is to think a bit before you speak and represent who you really are instead of the brash emotional you.
I'm a pretty emotional person.
In fact, jazz has such a great feeling and great emotional content that it really doesn't require you to have technical understanding of it. I think you just have to allow your feelings to go with the music and you will find yourself carried along by it fairly quickly.
Although I'm a retired teenager, I remember what it was like to be one. I could have sworn I was riding an emotional roller coaster most of the time. Looking back, I'm actually amazed that I survived. Barely.
When I was a young person, when I was in high school, we did a very emotional and wonderful - for us, life-changing - production of 'Godspell.' It really, really was the highlight of my high school time, and it was for everybody else in the cast, too.
After 'Chen Zhen,' I wanted to make an emotional, touching story.
I think for leadership positions, emotional intelligence is more important than cognitive intelligence. People with emotional intelligence usually have a lot of cognitive intelligence, but that's not always true the other way around.
I've always been a fan of melody and emotional melancholy, whether it was Rites of Spring or Tears for Fears or Neil Young. If I hear a song that has a sweet melody, I'm a sucker for it, whether it's Linkin Park or Little Richard.
When it's a really dark emotional scene, you have to make the effort to shake it off, at the end of the day, before you go home to your kids and try to be a normal human being. You definitely want to make that effort to shake it off.
I'm a very emotional person.
I get to actually experience what it would be like to be a psycho, which is not a fun one, or to be a cowboy, or to be a weird character of some sort. For me, it suits me. It suits my personality. I'm an emotional kind of person anyway.
Writing a book is an emotional odyssey, sometimes exhilarating, other times deflating.
It's hard to regulate the speed at which you can achieve something creative and emotional.
Yeah, you know, if I'm having an emotional scene I do like to go off and be by myself; not to say that I'm a method actor or anything like that, but for scenes like that that are more emotional, I do like to take that night off and not be so social.
My early novels were written in quite a dark place. I stand by them, but I would never write them again. I think it is subversive to embrace emotional optimism, because it goes against the grain.
It is our duty, as parents and as teachers, to give all children the space to build their emotional strength and provide a strong foundation for their future.
If somebody says to me, 'Oh, you're gonna get married and you'll never be attracted to anybody else again,' I'm like, right, sure. It's just not practical to me on an emotional level. Just because I'm married, I'm not dead.
I was quite emotional when I finished my lap, but had to wait for other drivers to cross the line to hear whether I'd actually done it. It feels very special, but I acknowledge that the old master, Nigel Mansell, took his 14 poles from only 16 races.
I want a performance style that's more cerebral and emotional than physical. I want to be a creative artist, not a whirling dervish.
Sometimes I feel like being an intellectual. Sometimes I like to just be aggressive and all the way in my feelings. Sometimes I might be emotional, or sometimes I might drag on the track and be lazy. I just like to share the different states of existence of Kevin Gates with the rest of the world.
I don't know why, it's the same reason why you like some music and you don't like others. There's something about it that you like. Ultimately I don't find it's in my best interests to try and analyze it, since it's fundamentally emotional.
I love telling stories. I love the intimacy between the writer and reader. When you write sketches it's over in two minutes. When you write a book the characters have to have a bit of emotional depth.
We must become acquainted with our emotional household: we must see our feelings as they actually are, not as we assume they are. This breaks their hypnotic and damaging hold on us.
Full, saturated colours have an emotional significance I want to avoid.
People have different emotional levels. Especially when you're young.
I like films that probe emotional questions and inspire you to get creative and get writing, get draping, painting, cooking, whatever that thing is where you have that kind of output.
I have emotional strings that tie me to Europe.
Getting emotional about things is a peacetime luxury. In wartime, it's much too painful.
I feel like I really tapped into a pretty honest emotional place for myself as a lyricist. There's a broad spectrum of emotions.
I'm into people's emotional lives and relationships and the complications of living. That's my turf.
I think it's one of the main negative emotional ingredients that fuels show business, because there's so much at stake and the fear of failure looms large.
A child who has overcome challenges with proper emotional support will emerge stronger.
If we were to lose the ability to be emotional, if we were to lose the ability to be angry, to be outraged, we would be robots. And I refuse that.
To work with a director that has emotional commitment and passion toward the characters, and the piece, and the experiences, it only enriches your work.
