It takes great character and understanding of human emotions to help someone you shouldn't be helping under normal circumstances.
One of the reasons I was so unhappy for years was because I never embraced my emotions and I was trying to stay in control.
I don't let anyone's insecurities, emotions, or opinions bother me. I know that if I am happy, that's all that matters to me.
Novels give you the matrix of emotions, give you the flavour of a time in a way formal history cannot.
I could always flip between emotions and be available to suddenly do something new. I think it's a part of playing, and you hang onto it when you're a kid.
Emotion lay at the very heart of the process of perception, intertwined with intellectual functions, yet adding to perception a quality that reason lacked.
I cried every day of first grade. In class. Which meant I ended up getting comfortable emoting in a place where it wasn't the norm.
When you take on a role, even if the character is somebody that you are dissimilar to, you have to identify with the role and look for an emotional connection even if there is not a biographical one.
What a director really does is set the emotional temperature and the mood and the level, amount, or lack of, distance between the action and the character, and the character and the audience.
In fact, words are well adapted for description and the arousing of emotion, but for many kinds of precise thought other symbols are much better.
Any show I'm working on, I want the stories to always be about something, and to have the potential to be emotional. That's the kind of story that I like.
I haven't personally in my real life had many people close to me die, but my characters have, and I've had to live that as though it's real. And it can take a really big emotional toll on someone.
I try to make all my songs good. I don't ever write one to finish one. A lot of protest songs end up that way, driven by some kind of emotional response.
J.K. Rowling is a talented storyteller, but she has also used the style and technique of modern television and cinema media, which seizes the imagination by pummelling it, bombarding it with powerful stimuli, in a rapid pace, with plenty of emotional...
I don't think most books can be justifiably translated on screen. The film versions can't convey the right emotion, fuel your imagination or allow you to visualise every line the way books do.
I love scoring. Putting music to picture is a rewarding challenge and one that relies on interpretation of emotion - as in, what is the pivotal feeling in a scene and which character's point of view is driving it at any given moment?
You have to find it in the moment, and that's one of the challenges of being an actor - especially a film actor - is that you have to maintain these heightened emotions for long periods of time. There's no trick to it. You just have to do.
Sometimes you feel the emotion. You think this might be my last pre-season or my last Champions League match. But, overall, those thoughts aren't important right now. But the time will soon come.
I was very empty after my father passed away. It was an emotional time, as it would be for anyone, but to be in the studio every day was kind of cathartic and healing and it just seemed very natural to continue.
Children have very sharp powers of observation - probably sharper than adults - yet at the same time their emotional reactions are murky and much more primitive.
If danger arises in the present moment, there may be an emotion. There may even be pain. But that's a challenge, not a problem. For a problem to exist, you need time and repetitive mind activity.
