A Quote by Melissa Leo

To play someone when the character masks their own emotions, doesn't understand their own emotions, has no release for their own emotions, and yet is full of emotion - that is a much harder character to play than someone who has somewhere to put it.
Since I am first of all a character writer, that character's emotions are as vivid to me as my own. I always begin with an emotion after I have established a character in my mind. I feel what they feel. I guess that is why it comes across so strongly.
I think the question of actually relating emotion to music is totally interesting. I believe that it is really important on some level, but it's also important not to impose your own emotions on some music that has its own emotions.
We play many emotions in our careers, emotions that in real life we would perform just once. For example, my character has died in about 10 films, so you have to keep searching for different ways to do it!
Books can also provoke emotions. And emotions sometimes are even more troublesome than ideas. Emotions have led people to do all sorts of things they later regret-like, oh, throwing a book at someone else.
Most of who we are is our deepest emotions, and someone who cannot feel those emotions in a positive way is never going to understand much about his fellow human beings.
Sometimes when a character in a novel is difficult for me to enter, I sue something in myself or in my own life as a doorway into that character's mind and emotions.
The character of instrumental music... lets the emotions radiate and shine in their own character without presuming to display them as real or imaginary representations.
I liked the 12-bar blues because everybody could play it, but they could also play it their own way, and they could express their own emotions using that as a structure.
I guess the biggest world difference you can make is in people's relations to their own emotions, 'cause emotions rule so much of our daily life, and I think that's where we work.
The Japanese have a strong tendency to suppress their own feelings. That's the Japanese character. They kill their own emotions.
Teachers need to be comfortable talking about feelings. This is part of teaching emotional literacy - a set of skills we can all develop, including the ability to read, understand, and respond appropriately to one's own emotions and the emotions of others.
Pride is the recognition of the fact that you are your own highest value and, like all of man's values, it has to be earned-that of any achievements open to you, the one that makes all others possible is the creation of your own character-that your character, your actions, your desires, your emotions are the products of the premises held by your mind.
Playing our parts. Yes, we all have to do that and from childhood on, I have found that my own character has been much harder to play worthily and far harder at times to comprehend than any of the roles I have portrayed.
The emotionally intelligent person is skilled in four areas: identifying emotions, using emotions, understanding emotions, and regulating emotions.
Actors incorporate certain emotions from our own lives in order to create characters, and emotions come from experience.
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.
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