A Quote by Jennifer Connelly
I wasn't brought up with any religion at all. At school and in my early 20s, I read every religious text I could get my hands on - Buddhist scriptures, Hindu texts, the Qur'an, and the Bible. I wanted to feel like something made sense to me, that there was something sacred I could feel aligned with.
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I have been a fan of movies from a very young age, and somehow, the magic of that - every single time I hear something or read something that could be made into a wonderful film or something somebody is asking me to be a part of - that connects. It just makes me feel like I'm going to be part of something magical again.
I'm not religious in any way but I am very spiritual. Music is holy to me. It's like my religion. It's sacred. It feels unearthly; it makes me feel a way that talking to somebody doesn't make me feel, it's something you can't even wrap your head around. It's not abstract, you can't even grasp it - that's what music is to me.
One of the things that sets the Bible apart from all other ancient religious writings is its scientific accuracy. Without exception, every other ancient religious writing contains certain scientific errors. For example, Muhammad taught in the Qur'an that the sun descends down into a muddy spring. The Hindu Vedas state that the Earth is flat and triangular, that earthquakes are caused by elephants shaking themselves under it. You'll never read absurd statements like those in the Bible.
Eventually, when I got the 'Meadowland' script, I saw something in it that made me think I could make something special out of it, something that could work with my style. Emotionally, I connected to it. I thought, 'If I feel this way just imagining it, maybe we can make that happen on screen and make people feel something when they watch it.'
I made a decision that to me, photography had to be something that I could feel. I could feel in my stomach. I could not take pictures that were not connected to my own inner life.
I was acting since I was a kid, going to drama classes and being involved in every school play and musical that I could get my hands on, so it was something that was a part of me from a very early age.
As a young man, even if I was going to see a play or a film by myself, I didn't feel like I was alone. There was something that was unfolding up there that brought me into it. And I recognised that. For those two hours, it made me feel like I belonged to something really good.
Habit must play a larger place in our religious life. We worship when we feel like it, we pray when we feel like it. We read the Bible when we feel like it. Leaving our religious exercises to the promptings of impulse, we become creatures of impulse rather than soldiers of Christ. An army made up of creatures of impulse would be only a mob. So is a church.
This was a brainchild of mine, to build a shop where you could walk up to everything and didn't feel like you had to keep your hands off. I wanted a shop that you could walk into and feel comfortable in, and I wanted women to feel comfortable in the shop as well.
But he could not taste, he could not feel. In the teashop among the tables and the chattering waiters the appalling fear came over him- he could not feel. He could reason; he could read, Dante for example, quite easily…he could add up his bill; his brain was perfect; it must be the fault of the world then- that he could not feel.
If you're not an actor, or if you're any other kind of artist, there's this sense that, "I must express this thing." Why make a painting if you don't feel like you have to for something inside of yourself? Why make a song if you don't feel like you have to because there's something that you need to get out? And when you're an actor and you're not performing text that you've written, I think there's this bizarre disconnect with the must-ness of it.
Something happens in school sometimes where you're like, 'Oh, I'm not an expert, and I have to defer to people who are.' And it happens not just in school: it happens in religion, too. Defer to the experts. A printing press is a big deal - they got the Bible, and all of a sudden they could read it for themselves.
Once you're in a kind of revealed religious tradition, you wind up having to explain how the things said about God in the Bible or the Qur'an or whatever religious text you're dealing with, why these statements are true.
Those who would assail the Book of Mormon should bear in mind that its veracity is no more dubious than the veracity of the Bible, say, or the Qur'an, or the sacred texts of most other religions. The latter texts simply enjoy the considerable advantage of having made their public debut in the shadowy recesses of the ancient past, and are thus much harder to refute.
I feel more as if I'm shaping something with my hands. I feel as if I've always wanted to get to that state. Like a blind man in a dark room had some clay, what would he make? I end up with 2 or 3 forms on a canvas, but it gets very physical for me.
For so long, it was just my secret. It burned inside me, and I felt like I was carrying something important, something that made me who I was and made me different from everybody else. I took it with me everywhere, and there was never a moment when I wasn't aware of it. It was like I was totally awake, like I could feel every nerve ending in my body. Sometimes my skin would almost hurt from the force of it, that's how strong it was. Like my whole body was buzzing or something. I felt almost, I don't know, noble, like a medieval knight or something, carrying this secret love around with me.
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