A Quote by Larry Moss
It's not enough to identify the Superobjective intellectually; you have to justify it, to find the emotional drive behind it. You need your own specific interpretation of the superobjective so that every time you think of it, it makes you emotional and drives you into action.
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I think there are three kinds of songs; it's only my theory: psychological, emotional, and spiritual. When you write psychologically or intellectually, you have a tune in your mind, and you re-write it. It's an intellectual approach. The emotional is my favorite because it comes from my kishkas; it comes from my soul.
No one ever wrote a story yet without some real emotional drive behind it--and I have not that drive except where violations of the natural order ... defiances and evasions of time, space, and cosmic law ... are concerned.
I think we need to reckon in a very serious way with the emotional content of news and the way that people perceive facts and their perception of their situation and to me I think the tabloid is like fundamentally an emotional form of journalism and that kind of emotional valence is what distinguishes it from the broad sheet.
Junk love are relationships in which you know you're not getting the emotional nutrition that you need. You're probably wasting emotional calories on people who aren't giving you enough back.
Do not think your story [for a one-person show] is unique. . . . your story is the same as millions of others. But that's o.k. - you just need to find the one or two things that makes your story interesting enough to justify someone leaving their apartment and exchanging currency.
Great design is so many things all at the same time. It is emotional, functional, and responsive. It creates an unwritten dialogue, a connection, between itself and those who experience it. It is open to interpretation yet created for a specific purpose. It creates meaning and value.
But synthesizer music has been accepted as emotional for long enough that it isn't a huge reach, conceptually, to think of a fake voice as 'emotional', especially since there's a human composing it.
It's so important to realize that every time you get upset, it drains your emotional energy. Losing your cool makes you tired. Getting angry a lot messes with your health.
I think when you're in your 20s, going from adolescence to about 24, I think your life is a series of emotional storms that you have to weather. Life is more emotional at that time, and you're less equipped to deal with what life throws at you. I always think that if you can get past 24, than life really starts at that point.
If you stop your creative process every time you think you need to cheer yourself up, or rid yourself of emotional conflicts, your life will be over before you can create anything of any real significance.
To have that concentration to act well is like lugging things up staircases in your brain. I think that’s a thing people don’t understand. It is that exhausting. If you’re doing it well, if you’re concentrating the way you need to, if your will and your concentration and emotional and imagination and emotional life are all in tune, concentrated and working together in that role, that is just like lugging weights upstairs with your head... And I don’t think that should get any easier.
The objective is not just to save the crew or just to get the ship up, but the superobjective is to get back home to the family and protect the family.
Emotional intelligence in the work that we do, in the Resolving Conflict Creatively Program, is about equipping young people with the kinds of skills they need to both identify and manage their emotions, to communicate those emotions effectively, and to resolve conflict nonviolently. So it's a whole set of skills and competencies that, for us, fall under the umbrella of emotional intelligence.
Glamour is an imaginative process that creates a specific emotional response: a sharp mixture of projection, longing, admiration, and aspiration. It evokes an audience's hopes and dreams and makes them seem attainable, all the while maintaining enough distance to sustain the fantasy.
When you are portraying somebody that has a very specific emotional weight, you feel like you're really starting to abandon your own body and go to someplace else.
When you're watching a movie and find yourself getting emotional, it's because you're bringing something personal to the images. It's the same thing with acting. You're bringing the essence of your core emotional being to that moment.
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