Now it is human nature to want to eat to ones fill when hungry, to want to warm up when cold, to want to rest when tired. These all are a part of people's emotional nature.
I like to write with a lot of emotion and a lot of power. Sometimes I overdo it; sometimes my prose is a little bit too purple, and I know that.
I never realized before this the emotional power of some really simple, corny tropes: people with top hats, people with batons, confetti going off, how important it is to smile.
These years in silence and reflection made me stronger and reminded me that acceptance has to come from within and that this kind of truth gives me the power to conquer emotions I didn't even know existed.
When I met Peter Weir, we did a movie called 'Master and Commander' together, and that's when I really started to understand the power of acting, the power of directing, finding the emotion in performance.
Poetry is ordinary language raised to the Nth power. Poetry is boned with ideas, nerved and blooded with emotions, all held together by the delicate, tough skin of words.
The belief that a person can and should only feel grief over one sad event at a time is a truly disturbing estimate of our emotional capacity.
If I was sad or afraid, I would sit in a corner and sing. If I was happy I would jump into the middle of the room and sing. It was how I expressed my emotions.
I want to be able to make people laugh and cry and feel happy or sad and feel all these different emotions through singing and acting. Hopefully throughout my career, I'll get to pursue them.
The clock, for all its precision in measurement, is a blunt instrument for the psyche and for society. Schedules can replace sensitivity to the mood of a moment, clock time can ride roughshod over the emotions of individuals.
I love my stories being multi-layered, and coming at it from different angles, so that you don't understand the film's true emotional motivation until the very end.
We tend to lack humility toward love, to patronize it rather than bow before it, to put mundane considerations before the emotional need to hold someone in our arms.
Action, reaction, motivation, emotion, all have to come from the characters. Writing a love scene requires the same elements from the writer as any other.
I love eulogies. They are the most moving kind of speech because they attempt to pluck meaning from the fog, and on short order, when the emotions are still ragged and raw and susceptible to leaps.
As I told you, from the time I was fifteen, I thought the theater was too much involved with actors trying to make the audience love them, being over emotional.
A lot of actors, and artists in general, never feel secure in love. They always feel everything's going to be taken away from them, professionally and personally; they're extremely emotional and volatile.
Patriotism is considered to be an emotion a person ought to feel. But why? Why is it nobler to love your own country than to love someone else's?
The nature of music is mysterious and so much so that it generates strong emotions within us. It moves along passages that reach the most intimate areas of our psyche without being tried by prejudices or influences of any kind.
Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.
I grew up with classical music when I was a ballet dancer. Now when I have to prepare an emotional scene, to cry or whatever, I listen to sonatas. Vivaldi and stuff. It's just beautiful to me.
Janis Joplin is definitely one of my biggest influences. She taught me how to feel music, and I don't think there's anyone like her that could bring such pain and emotion to a song.
