I've always found it easy and natural and, more importantly, necessary to articulate thoughts and feelings, and fierce emotions, through the written word. Fantasy and horror came to me when I was very young.
Secular writers can tell a story about the physical, the emotional, and the intellectual parts of a character. But no matter how well they tell the story, they miss a facet that is innately part of all of us - the spiritual.
Especially with the live, just the way I curve words, it's about expression. It's so emotive, to be able to release these words into a mike. It really emphasizes this insane tingle down my spine whenever I play.
Playing a robot is possibly the most difficult role you can have as an actor, because you have to take all your innate emotional responses and completely suppress them. Even the way you walk is affected.
I have always wanted my children's dads to be involved in their lives. Not just the day-to-day aspect, but the emotional shifts that they go through, when little things pop up - they need to be included, absolutely, and for the children to feel that ...
To express your emotions, you have to be very loose and receptive. The unconscious will come to you if you have that gift that artists have. I only know if I'm inspired by the results.
If I was writing about an academic or a more difficult person, I would use the Latinate vocabulary more, but I do think Anglo-saxon is the language of emotion.
With big, emotional roles it's very easy, especially if you've grown up in the American school of acting, to exploit your own pain. You have to be careful about that, because 9 times out of 10, your pain is not appropriate to the character.
Twenty-year-olds have a kind of emotional idealism about relationships and about the world that enables them to say, 'No, you lied to me. Goodbye.' When they see wickedness, they walk away.
I am an imperfect man living in an imperfect world, trying to weave through the chaotic interactions of semi-causal events with linear logic, contradictory emotions, dialectic wisdom, and mortal integrity.
It's hard to do that with people who think emotionally. A lot of people think in terms of people, emotions, and feelings. That's more complicated. Engineering mentality makes it, in theory, a little easier.
I tend to wear my emotions on my sleeve. I've had my share of mood swings, believe me. But it's a powerful thing when you realize that you have dominion over your behavior and your passions.
A deep kiss can put you in an emotional state of coma, sometimes in a reckless vulnerability, we lose virginity and sanity, and maybe our bond of love becomes strong or weak.
Your emotions will wander like a vagabond when you're indebted. Those happy moments with friends will soon be interrupted with a frowning creditor in your sub-conscious, and all your frenzy will be taken aback.
The limitation of riots, moral questions aside, is that they cannot win and their participants know it. Hence, rioting is not revolutionary but reactionary because it invites defeat. It involves an emotional catharsis, but it must be followed by a se...
I try not to repeat a story. I try not to repeat an emotion. I want it to be all sort of new for the viewers and to challenge myself as a writer, so there's always pressure. What else can you come up with?
If it's a very emotional scene, you're kind of relieved when you've done it, kind of spent. And there are times when you can be rattled, certain characters if they're hyper, that can carry over, the residue of that. But I try to leave it on the set.
It turns out that what money buys has rapidly diminishing emotional returns ... As long as we're not destitute, happiness depends less on getting what we want than appreciating what we already have.
Now I recall my emotions at that moment, children seem to me a remarkable race. They want so much to murder so many people, and they so rarely murder anybody at all.
The Pre-Raphaelites, while very bothered by what the establishment thought of them, also utterly rebelled against it. In everything - social, sexual, emotional - they were out on a limb, pushing the boundaries.
When I was younger, I used humour as a tool to avoid getting too serious with people - if there was deep emotional stuff going on, then I would crack a joke to defuse the situation.
