A Quote by Becca Fitzpatrick

The sensible part of me wanted to dissect my emotions, overthinking and overcomplicating my reaction to Jev. — © Becca Fitzpatrick
The sensible part of me wanted to dissect my emotions, overthinking and overcomplicating my reaction to Jev.
My first reaction at the very idea of this interview was to refuse to talk about photography. Why dissect and comment a process that is essentially a spontaneous reaction to a surprise?
My main goal as an actor, with my craft or whatever poncy way you want to say it, is to always take the audience with me. To make them feel for me, or to make them hate me, I want a reaction. I want their emotions. The worst reaction someone can have is, "eh."
Getting into the paint is easy. Seeing if the help comes is easy - they either come or they don't. The hard part for me is seeing early where it's coming from and when - and if I can still finish, or if I should pass it off. Deciphering all that without overcomplicating it has been a challenge.
Patch reached for my hand and pushed my dad's ring off the tip of his finger and into my palm, curling my fingers around it. He kissed my knuckles. "I was going to give this back earlier, but it wasn't finished." I opened my palm and held the ring up. The same heart was engraved on the underside, but now there were two names carved on either side of it: NORA and JEV. I looked up. "Jev? That's your real name?" "Nobody's called me that in a long time.
I really explored self-awareness and emotions through 'Green Lantern.' It might sound goofy, but I do believe that emotions have power. We're all driven by something, and most of that is emotional reaction. For me, it was about recognizing my self-awareness.
The film [Django] really has a lot of ups and downs, and taps into a lot of different emotions. To me, the trick was balancing all those emotions, so that I could get you where I wanted you to be by the very end. I wanted the audience cheering in triumph at the end.
We dissect failure a lot more than we dissect success.
Depression is a very sensible reaction to just about everything we live in now.
I think I have an awareness inside of me that we are all the same, that basically we are all part of that one heart. When I am with people, I feel there is a part of me that knows a part of them because we are beyond our personalities, our emotions, and our thoughts.
Psychologists, for reasons of clinical necessity or vagaries of temperament, have chosen to dissect and catalog the morbid emotions - depression, anger, anxiety - and to leave largely unexamined the more vital, positive ones.
How do I control my emotions? How do I stop getting angry so often, or how do I stop being sad? And I think there's a really important distinction to understand is that you can't completely control your emotions. What you control is your reaction to your own emotions. And a lot of people don't ever make that separation for what goes on with them.
The main things to rebel against - over-production, too much technology, overthinking. It's a spoiled mentality; everything is too easy. If you want to record a song, you can buy Pro Tools and record four hundred guitar tracks. That leads to overthinking, which kills any spontaneity and the humanity of the performance.
Everyone wanted my emotions to be very simple. They wanted me to say, "I was poor and I was unhappy, and now I've got money and I'm really happy."
Acceptance is not a talent you either have or don't have. It's a learned response. My meditation teacher made a great point about the difference between a reaction and a response: You may not have control over your initial reaction to something, but you can decide what your response will be. You don't have to be at the mercy of your emotions, and acceptance can be your first step toward empowerment . . . For me, acceptance has been the cornerstone to my having an emotionally healthy response to my illness.
Whether something is sensible or not is subjective. What is sensible to me might not be for others.
Going to directing wasn't a reaction away from acting as much as it was a move towards something I always wanted to do. Ever since I was a kid, I was interested in the camera and how it worked and why one director would place it in this part of the room and then another would place it in that part of the room.
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