A Quote by Roland Orzabal

When I became a parent I forgot about the part of myself which was very emotional, very dour a little depressed - but very good at writing emotional songs. — © Roland Orzabal
When I became a parent I forgot about the part of myself which was very emotional, very dour a little depressed - but very good at writing emotional songs.
When it comes down to the song writing, I'm just very slow - very slow. Because the songs are about my life, so I'm doing emotional work on myself. As I'm writing these songs, I have to learn these lessons and dig real deep into my heart to write this stuff.
I have always struggled with expressing emotion, I used to think I was a very hard person but music has shown me I'm a big softy! Writing songs to me really is like writing a diary, it's very private and very personal. My most emotional songs have been written alone in a locked room, I'm able to express myself there.
When it comes down to the song writing, I'm just very slow - very slow. Because the songs are about my life, so I'm doing emotional work on myself.
I always choose songs that I have an emotional connection to, and I often feel myself getting very emotional when I sing.
I got into writing music when I was, like, 14 or 15. It was a very private thing for me because I used it as an outlet and emotional release. I kept it very close to myself and didn't tell too many people about it.
I feel like the only person who has a chance against Alejandro González Iñárritu is Lenny Abrahamson. [The Room] was very awkward, very odd, very uncomfortable as it should have been. And then it became very beautiful. It tugged all the emotional chords beautifully.
I've sung a lot of emotional songs, but when you're writing it's very difficult to decide what to reveal.
For me, listening to Beethoven and Tchaikovsky in particular, there's an emotional aspect - very different kinds of emotional aspects from those two composers, nonetheless, very strong emotional aspects from both of those composers.
We have this misconception about women in the military, that they don't wear make-up, but in reality, they're very feminine women. You can be a tough woman, and still be a very nurturing and emotional parent. It's just not always black and white like that.
They are very personal, emotional songs - people react to them very strongly.
You know, art is very emotional business. But mostly it becomes not emotional, the fabric of commodity. It becomes business. It becomes so many different things. Because we forgot there was emotions involved.
It's really good to talk about it [ hydraulic penises and prosthetic butts], and it's very gratifying when people ask us about the other aspects of the film [Swiss Army Man], but [those things] are part of the movie and they're important and hilarious, a very fun part of the movie, so there's no sense from us of not wanting to talk about that. I think it's exciting that those things exist in a film that is also very heartfelt and emotional and profound.
You know, I've sung a lot of emotional songs in my life, but when you're writing it yourself, it's very difficult to decide what to reveal.
I'm very sensitive. It's always been something I'm very in tune with. I am very emotional. Sometimes to the point of where I just want to hide away, because I can't get a handle on myself.
Writing is very much an emotional process; it requires you to be very in touch with your feelings. That is the opposite of what you're taught as a medical doctor. We're supposed to be detached and logical. Maybe because I started off as a writer and then became a doctor, I'm able to integrate those two.
When I started out, the most terrifying thing was when I had to be very, very emotional in front of lots of people. Now I've kind of learned that it is very important to keep talking all day, keep making jokes, and be connected with people, and be present. It's very important for me to be absolutely present in order to be emotional. I learned that is sort of the way I need to be.
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