I'm growing very talented at watching blood and guts on screen because I have zero emotional response.
The idea that other perspectives exist may not be obvious to those who are in an emotional state of mind.
The questions of philosophy proper are human desires and fears and aspirations - human emotions - taking an intellectual form.
Non-fiction, and in particular the literary memoir, the stylised recollection of personal experience, is often as much about character and story and emotion as fiction is.
You have to know this: running a 100m race is an intense experience. You have a lot of emotion at the end of the race. It is not easy to control that when you win.
Actors are part of a certain percentage of people on this planet who have an emotional vocabulary as a primary experience. It's as if their life is experienced emotionally and then that is translated intellectually or conceptually into the performanc...
And I like to convey my feelings, my emotions, my experience, the information I have to public use, public opinion.
Wine, like food, is so emotional. If you think about it, so much of the courting ritual is surrounded by wine and food. There's a built-in romance to wine.
My father had retained an emotional affection for the ceremonial of his parental home, without allowing it to influence his intellectual freedom.
Analysis gave me great freedom of emotions and fantastic confidence. I felt I had served my time as a puppet.
That sense of failure, I don't know where people put it who don't write songs and aren't able to emote physically. It must go somewhere.
The movie business is very much like that: people in authority making purely emotional decisions instead of interesting rational ones.
When you want to move somebody, you have to say to yourself: 'I'm in the emotional transportation business. I gotta move them, emotionally.'
Propaganda requires a permanent network of communication so that it can systematically stifle reflection with emotive or utopian slogans. Its pace is usually fast.
I try to combine in my paintings cinematic feeling, emotional feeling, and sometimes actually writing on the page to combine all the different elements of communication.
The darker, more complex and emotional the part is, the easier it is for me. But I don't take any of that stuff home with me at the end of the day.
For in the works of Robert Burns we see the whole cosmos of man's experience and emotion, from zenith to nadir, from birth until death.
Horror is about dreams and heightened states. It really is about taking away the logic on some level and getting right to the emotion of something.
Where Joe was more vocal and emotional whereas Chuck was very reserved. But, both of them executed great strategy and both of them demanded a lot of their players.
But if you listen to great piano players, both classical and jazz, there's a huge range of dynamics and colors and emotional expression that's possible with the instrument.
At the end of the day, I just want a movie that's great, that people are going to love and laugh at and be affected by, and also have an emotional journey.
