A Quote by Brian Boyd

I think that's an important part of art in general. Especially in literature, in stories, we play with eventualities that may put us through a lot of intense negative feelings - say, in horror films or tragedies as intense as King Lear - but we come out feeling richer. We've lived to the fullest, we've tested ourselves in these environments.
Feelings come and feelings go. There is no need to fear them and no need to crave them. Be open to your feelings and experience them while they are here. Then be open to the feelings that will come next. Your feelings are a part of your experience. Yet no mere feeling, however intense it may seem, is your permanent reality.
That intense faith in another world, that intense hatred for this world, that intense power of renunciation, that intense faith in God, that intense faith in the immortal soul, is in you. I challenge anyone to give it up. You cannot. You may try to impose upon me by becoming materialists, by talking materialism for a few months, but I know what you are; if I take you by the hand, back you come as good theists as ever were born. How can you change your nature?
A lot of bands have intense names, like "Rigor Mortis" or "Mortuary". We weren't that intense, we called ourselves "Injured". Later on we changed it to "Acapella" when we were walking out of the pawn shop.
'American Honey' takes you into the feelings of a girl travelling through the United States while giddily in love. You see modern America through her intense feelings. But again and again the film pulls the rug out from under your feet - scenes never play out as you expect.
Even if you're an angry, intense person, you also have to have intense joy about life and intense feelings about the world.
All those emotions spanning from intense love, intense frustration, intense jealously, all those feelings are red.
I'm a pretty intense person. And I don't know if intense is fun. I put myself through the wringer. That's just how I work.
I guess if they ever do a remake of 'Sophie's Choice,' I could play the Meryl Streep part. I've got to work on my Polish accent. Maybe I'll be the definitive King Lear one day. You know, if they ever feel that King Lear should be more Jewy.
King Lear by William Shakespeare frightens me. I've never done King Lear, I guess partially because my father dwindled into dementia in his last years and King Lear is such an accurate portrayal of a father figure suffering from dementia - the play was almost intolerable for me.
The other thing is that it's really hard to separate out the harassment from everything we do. When we started creating Tropes, we were hyper-aware of the intense scrutiny, the intense harassment, and the intense pressure to do something meaningful given the attention both positive and negative. That's carried over in terms of making sure that I produce the best work that I can, that's the most accurate, the most sensitive and engaged.
Well you know, I think a lot of us in marriage know that you play different roles at different times. And Mitt can get very intense, and I can have the ability to kind of talk him off the rails sometimes and say, 'Hey let's look at what is really important and let's do that now.'
There are some of us who in after years say to Fate, 'Now deal us your hardest blow, give us what you will; but let us never again suffer as we suffered when we were children.' The barb in the arrow of childhood's suffering is this: its intense loneliness, its intense ignorance.
People make films about all kinds of relationships, but they won't do these extremely intense platonic love affairs that happen between young girls. In a way they are more intense than anything else you ever have, and that's what I wanted to make a film about, though it was in the context of a horror film.
We read literature for a lot of reasons, but two of the most compelling ones are to get out of ourselves and our life stories and โ€“ equally important โ€“ to find ourselves by understanding our own life stories more clearly in the context of others.
Yeah, I've always been accused of having a sense of mischief and I'm very flattered that you say you can see it in the roles I play, because I think that's important, even if I do play intense characters, like especially Christine Cagney.
War films usually so dark or dirty or intense, and sometimes they guide you to feeling a certain way against war, in general. But, to have a film that just speaks honestly to the soldier's experience and isn't jaded and is just authentic and easygoing in its message, I think is really nice to see.
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