If I had one piece of advice to tell an entrepreneur, I always say, 'You have to have emotional investment in what you're working on.' That's what we lacked at Odeo.
I still connect with original emotions. 'Night Moves' was written about 1961 or 1962 when I was in high school, and it was about what my friends and I did in that period.
As a guitar player, you can gravitate to the blues because you can play it easily. It's not a style that's difficult to pick up. It's purely emotive and dead easy to get a start with.
Aspirations don’t make poets, perseverance does. Flow with the emotions, let your imagination soar, find what ignites the fire within and let it go wild.
In the glory which overhangs Palestine afar off, we imagine emotions which never come, when we tread the soil and walk over the hallowed sites.
I think, you know, when you're a teenager, sometimes your emotions are a little bit more drastic than maybe when you're in your 20s. You sort of level out a little bit.
I don't like to get scared - it's not one of the emotions I enjoy. So I have to assume that if there are scary things in my books, they aren't very scary.
If I ever had any vanity, then I definitely lost it by being on television. It doesn't do you any favours in terms of showing you what you look like and what your emotions are.
I began to think that there was a place for 'Footloose' to get retold again, that there was actually a more conducive political climate, an emotional climate to explore a town that has experienced a trauma and a shock, and starts overreacting.
Full of intrigue, tangled pasts, and raw emotions, [Gambling On A Secret by Sara Walter Ellwood] is guaranteed to keep you turning pages from start to finish and then wishing for one more chapter!
It's wonderful to move forward technologically, but we cannot forget that we are human beings who thrive on relationships, who thrive on interconnectivity, who thrive on sharing your feelings and emotions.
I can remember feeling very angry, and saying no! I can do it myself! From that point of view it was very emotional for me to get myself to the point to sit in the chair and be 'up'.
It's easier when you play. You get your emotion out. You scream. You yell. You do whatever you want. You play. But it's tough to sit.
It's the emotional trigger points that are important to me because I know if I could believe in the characters and try and imagine how they felt then I'd be able to do something quite honest.
But I also wanted to give them an intelligent emotional journey, without having to suspend reality - to be able to look at those characters and see reasons for the relationships and why what happens happens.
I had the conviction that lovemaking fools you. The overpowering emotions it induces make you think you're sharing the same feelings as the other person and that they're imagining the same as you.
I try not to think too much about where my voice comes from. I'm channeling characters and emotion to come up with beautiful words that tell a story.
We see that every external motion, act, gesture, whether voluntary or mechanical, organic or mental, is produced and preceded by internal feeling or emotion, will or volition, and thought or mind.
Teams are made up of a lot of components. They're made up of hunger, they're made up of desire, they're made up of chemistry, and they're made up of emotion.
The most difficult thing in any negotiation, almost, is making sure that you strip it of the emotion and deal with the facts. And there was a considerable challenge to that here and understandably so.
You learn to rely on a few basic movements and use your voice to the greatest extent possible to convey your emotions. So there was a technical challenge there and a responsibility to create a character from behind the mask.
