You can go crazy and play solos in the right place, and that's great because it can intensify and bring an emotional lift. But the thing is you don't want to get in the way of the song.
My father's drinking was sometimes a problem. And a great deal went unspoken. He was not particularly acute or articulate about the emotions. But he was very affectionate towards me.
When your playing drama, and you're in the moment, and you can nail the emotion that is called for, it just feels like a smooth thing. It's so great. There is nothing like getting a laugh, though.
When my body is strong, I feel stronger inside. I feel more capable of handling emotional situations. Usually I'm more of a inside-out person, but this was a great case of me from the outside in.
I am a great observer of things, and I do it all the time. I store stuff; I use it as an actor; that sort of recall, of emotional memory and images of things, just tastes of things.
Tom Sleigh's poetry is hard-earned and well founded. I great admire the way it refuses to cut emotional corners and yet achieves a sense of lyric absolution.
Naturally, women are drawn to a man who understands the subtlety of emotions, and they know I'm a passionate man. But the reason I try to keep myself in shape is so I can sing better, not to look good.
Generally speaking, I think it's a good idea to stay conscious of any kind of energy or emotion that you're generating, whether it's at the end of a work day or just in your everyday life.
You used to have to sing and convey emotion, and now, well, technically you can do anything with technology. It sucks for music today, but that's why that old music feels so good to me.
It takes a little bit of mindfulness and a little bit of attention to others to be a good listener, which helps cultivate emotional nurturing and engagement.
There's feelings there, but I think I've just been pretty good at trying to hide my emotions throughout the years. I try to have the same demeanor each and every day.
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 firmly believe that emotions are universal, and I know that when they connect with the audience, it works. There is no such thing as an entertaining or a serious film; there are good films and bad films. Good films will always find a vast audience.
I don't need legitimization to take part in Israeli productions; I am a good actress. To work in Israel is a financial investment for me. I do it for emotional, not artistic, reasons.
If you make a record, you should ask yourself, 'Did it make someone cry, in a good way, not a bad way?' There should almost be subjective emotional criteria for evaluating work, instead of just profitability.
Sure, I can get a little bit jealous. The good part about jealousy is that it comes from passion. It's also the dangerous part and it's an ugly emotion that hurts.
Film has always been a really good tool for me to communicate emotion about why I create a collection. I'm probably one of the first designers to make short films.
A person cannot love a plant after he has pruned it, then he has either done a poor job or is devoid of emotion.
When I started writing at 18 or 19, I had a fear of anything autobiographical, but I've come to realise that my writing is very autobiographical at the emotional level.
I wouldn't say I have a lack of fear. In fact, I'd like my fear emotion to be less because it's very distracting and fries my nervous system.
How are fears born? They are born because of differences in tradition and history; they are born because of differences in emotional, political and national circumstances. Because of such differences, people fear they cannot live together.
