Emotional Quotes
Most Famous Emotional Quotes of All Time!
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A film with an untidy plot cannot grip the audience and define their emotional response.
I think part of the way in which kids develop emotional and psychological resiliency is by having some independence.
I love talent because they are passionate. They can be emotional and irrational and unpredictable... and that's okay, because all we want is something exciting on the page and on the screen.
I'm born and raised in Georgia, so I have a lot of appreciation for hip-hop, but I want to be able to show the emotional side of me.
My grandpa and I loved Emeril. It was all he wanted to watch when he was in the hospital dying. When I met Emeril later, it was so emotional.
'Blue Valentine,' Derek Cianfrance's emotional gunslinger of a film, tears into the topic of moribund marriages with an honesty that's hard to come by in Hollywood these days.
I think the details and the quality are so important that it has to have an emotional tug. Even if it's the simplest shoe, it has to have something that says, 'Oh, I have to have you.'
There's stuff I don't like to rehearse, really emotional things, I don't like to rehearse. You just beat it to death.
Sometimes I hold back from tweeting certain things. Sometimes you're emotional, and you want to tweet a lyric or whatever it may be. I can't do that because if I do, it's, 'Oh, this means this and that she must be going through this...' It's like, what the hell?
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.
My son is not that emotional. He thought my trip to India is just another conference, But when he hearing about my visit on TV, he too got moved.
You know, comedy's hard. With drama, you have a responsibility to the emotional truth, but with comedy, you have emotional truth and you have technique on top of it.
It's ingrained in people's minds that it's a typecast and a stereotype that women are just emotional and crazy.
At the heart of any successful film is a powerful story. And a story should be just that: a narrative with a beginning, middle, and end, powerful protagonists that audiences can identify with, and a dramatic arc that is able to capture and hold viewers' intellectual and emotional attention.
Music is very helpful, not just for the actors, but the whole crew and myself. It gives you the tone of the scene. Everyone is focused on the tone of the scene when we are shooting, and we are having an emotional reaction to the music immediately.
A novel should be an experience and convey an emotional truth rather than arguments.
The two things that matter the most to me: emotional resonance and rocket launchers. Party of Five, a brilliant show, and often made me cry uncontrollably, suffered ultimately from a lack of rocket launchers.
I always felt that, when I saw Denzel or Viola do scenes in their past films or past projects, that if it's a heavy scene, and it's requiring a lot of emotional weight, that we would have nothing but silence and incense burning in between takes just to keep things quiet.
What I try to do, what I attempt to do, is say things that I mean at least at an emotional level.
Jury selection is strictly an emotional process. They're looking for people they can manipulate. Both sides are.
You have to go through a mental and emotional process to recognize who you really are. I finally recognized that I cannot be defined by one country.
Anyone who's ever read the lyrics of an already cherished song has most likely encountered that hollow sensation of something missing, the absence of certain emotional integers. It can be like viewing a loved one's X-rays.
Piano playing is a dying art. I love the fact that I can be one guy with one instrument evoking an emotional and musical experience.
If I don't cry while writing a key emotional scene, my gut feeling is it's failed.
You can take the boy out of England, but you can't take England out of the boy. And ummm, yes, I feel a huge emotional attachment to England.
Music should resonate with people on an emotional level. That's one of the criterions I use for an idea. Does it speak simply and directly without obfuscation and without being unnecessarily complex or obscure?
I try not to obfuscate or to be to obscure or to be too cerebral. I like to work on a visceral, emotional level.
I've had emotional experiences in VR that I haven't been able to have in two-dimensional experiences.
Of course, I have the emotional ups and downs of pregnancy, like crying jags for no reason and then the next day I can't even remember what I was crying about!
Maybe I'm the baddest chick on the planet, maybe I'm the baddest woman in the Octagon, but I'm definitely emotional.
I'm a fairly emotional guy and a fairly kind of aggressive player who some people - especially defensive guys - don't like on the field.
I was trying to write an autobiography using prints and patterns that reference emotional, psychological, and personal development in my work, as a person growing up, figuring out who I was. I used fabrics to stand in for occurrences.
I've always felt like I had a personal relationship with fans. I'm not afraid to be emotional or vulnerable or humble.
I think shrinks are interesting to write about because you get to see what the character chooses to reveal, and what behaviors or stances the character tries out on the shrink that might not be part of the character's make-up outside of that room. It's an emotional test-kitchen.
I love historical fiction because there's a literal truth, and there's an emotional truth, and what the fiction writer tries to create is that emotional truth.
I see my music as Emotional Therapeutic Pop music that bleeds into loads of different genres.
Because Shakespeare's language is so expansive, we're under this misconception that it's difficult. But I discovered that it's easy because it's so brilliantly written. The words are perfect, and the language is intelligent and very emotional.
To work with a director that has emotional commitment and passion toward the characters, and the piece, and the experiences, it only enriches your work.
There's so much of, it could have been a very critical examination of what happened, and really the emotional lives of the people involved sort of carry the characters forward.
I think that when we're looking at things when we're right in the center of things, as opposed to being a bit unmoored from what's going on around us, we see things through a kind of dulling lens of convention, and there's something about extreme emotional experiences that gives us a heightened clarity, I think, of thought and of feeling.
There is such an emotional connection between the bride and her wedding dress, whereas in ready-to-wear you may just be focusing on color or prints for that particular season.
If I don't see an emotional response to a dress, then I think something's wrong.
Pressure is an emotional paralysis. It's hard enough to do the dishes when you're feeling pressured, let alone make a movie.
I think the idea of losing your hair is still very potent, emotional thing.
I realized going back and writing and explaining in details the difficulties I had lived actually became emotional again. It's like therapy but sometimes therapy can be painful. But it's part of life and part of the autobiography so I'll have to finish it sooner or later.
Endings don't have anything to do with what your movie is about. Now, there is an emotional climax, there's an emotional resolution that is 100 percent important. If I get that wrong, get your money back.
Most actors will tell you, when they've got emotional stuff that's hard to carry around for hours and hard to try to do justice too, it just beats your butt.
I outline in some detail, but even after the outline is done I often get a new idea that is an improvement, so the outline is a living, breathing thing as well. I also re-outline when I'm two-thirds done, to be sure that there is an emotional payoff from all the plot lines and to be sure the story is as tight as it can be.
My brands are an extension of me. They're close to me. It's not like running GM, where there's no emotional attachment.
My whole life, I've been the one in my family that's always too emotional and too sensitive. That's, like, my role in my family.
I'm not going to normally get hired to play those emotional things, and I'm capable of it. I was raised by a single mother in Iowa - I'm just trapped in a big, dumb body.
I've dealt with a lot of physical pain, with a lot of emotional pain; anybody's who's ever been an alcoholic has handled both of those in extreme.
The show is like an Edwardian play - emotional life gets stepped on for the sake of accepted manners, and that's terrific for actors to play in.
My whole career I've been interested by the distinction between an emotional and an intellectual response to an artwork.
When I was a young person, when I was in high school, we did a very emotional and wonderful - for us, life-changing - production of 'Godspell.' It really, really was the highlight of my high school time, and it was for everybody else in the cast, too.
Beneath words and logic are emotional connections that largely direct how we use our words and logic.
Vengeance is the act of turning anger in on yourself. On the surface it may be directed at someone else, but it is a surefire recipe for arresting emotional recovery.
Japanese horror films take the business of being frightening seriously. There is no attempt at postmodernism or humour. They are incredibly melancholy, with a strong emotional core, while remaining absolutely terrifying.
Why e-mail a full emotional statement when, instead, you can text a totally insignificant and ambiguous half-considered phrase?
For me and my films, I want my audience to experience cinema in its full glory. It's not just visual, it's audio as well. It's emotional, and I want you to be engaged with not just the scene but with the characters.
Republicans: steely, rational, paternalistic, respectful of authority, easy to herd, the party of No. Democrats: sugary, emotional, idealistic, yearning for novelty, hard to marshal, the party of Oh Yeah, Baby, Make Mama Feel Good.
The subject for a lot of non-fiction is very emotional, but if you read it, it's the most boring, dry stuff. I wanted 'Torn Apart' to be extremely accessible and readable.
The score, which comes often quite later in a film, can help reinvigorate your emotional engagement with it.
I am very fussy; I am very detailed; I nag a lot. So in a sense, I am like Mr. Ping. I am temperamental, I am emotional, I'm fussy, and I'm very exact. And I want people to not fail; I want them to execute - all those things Mr. Ping wants in other people. Or animals.
I know this sounds phony, but I don't start out on a project going, 'I'm going to make an emotional work,' you know what I mean? You try to tell the story directly and honestly and with passion.
I get a little teary on stage sometimes. It can be really emotional when it dawns on you that people are singing along and having fun.
When we say we have patterns, there is a cyclical movement to everything. Our psychological and emotional processes also have become cyclical largely because of a very strong attachment and involvement with physical process, and physical process has to be cyclical; only then we exist. Without out cyclical movement there'll be no physical existence.
If you really do want to be an actor who can satisfy himself and his audience, you need to be vulnerable. You must reach the emotional and intellectual level of ability where you can go out stark naked, emotionally, in front of an audience.
I like films that rest in the memory, so I try and choose parts which have some kind of social or emotional force.
I think good radio often uses the techniques of fiction: characters, scenes, a big urgent emotional question. And as in the best fiction, tone counts for a lot.
Just as an audience member, I've always preferred dark things and very heavy, emotional things.
I think music talks to you on an emotional level, regardless of where you're from. I guess I related to the tempo of rap, the aggressiveness.
To explore different parts of yourself and different emotional lives... not to hide from who you are but to actually explore who you are.
We all go to the theater and cinema to be inspired and moved on an emotional level, sometimes to laughter, sometimes to tears. Once I discovered that acting could have such an effect, I was sold. It has been one of the most rewarding discoveries I have ever made.
For me, I always wonder what's worse: an emotional betrayal or a physical betrayal? That's a really tough call.
Creeds and castes, and all forms of intellectual and emotional grouping, belong to the past.
Long-term career aspirations encompass emotional and intellectual impact of work on society.
I was highly sensitive and still am, but as a kid I could tap into my emotional state rather easily.
With aging comes physical and emotional challenge. We cannot seem to get as much done in an hour as we did in youth. And it is harder to be patient with others, and they seem more demanding.
I like the ritual, the liturgy of a well-crafted, emotional fashion show. I will never be jaded with this side of fashion. The catwalk is pure anthropology, something like an esoteric encrypted parade. It can totally be replaced but it will be missed.
What's exciting about theatre is observing human behaviour. You're constantly making judgments about body language, the physical, the emotional, the intellectual.
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