A Quote by Theodore Roethke
We think by feeling. What is there to know?
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The stand-up really helped because you know the feeling when something feels true, and you know the feeling when it feels false. You don't ever want to give an actor the feeling of it being false, because you know how unfair that is.
I don't think, if anything, I don't think it's a feeling of hopelessness that people feel. I think if they feel - if they're feeling what we're feeling, it's that this is how we fight back.
There's a feeling about it. You feel almost like a cabinetmaker, laying planks. There's a real feeling when you know you're getting it right. It's a physical feeling.
I think finals are there to be won, you know the feeling of losing a final is really bad. I prefer to lose a semi-final, quarter-final because I know I will forget... But the feeling of losing a final stays here forever. Even if you win two, three, four, five it stays. You know, I’m too scared to lose, so I give everything to win.
You know that feeling when you finish a final exam and you think, 'I never want to do that again'? Well I have the same feeling when I finish a novel. Each time I say, 'I think I may retire now' and then after six months the ideas start to churn again. I could never stop.
I've always been into the not stereotypical hunk guy - I'm into dorky, like I call it adorkable. And I think that a lot of girls are into that. I think there's something disarming about it and endearing and also puts you at ease and there's an attractiveness there - it's like a good sense of humor, self-deprecating, weirdness. You know? Because I think we all have that in ourselves, but we just try to hide it because it's not "cool," but a lot of people can kind of relate to that feeling or the outsider feeling.
So I really love this very difficult feeling of being completely out at sea. I don't know what I'm doing, and I kind of like this feeling. So I think for the moment, I'm going to continue to try and nail film down in some sort of shape where I'm happy with it.
The First Splendid Truth: To be happy, I need to think about feeling good, feeling bad, and feeling right, in an atmosphere of growth.
It's the feeling that really creates the attraction, not just the picture or the thought. A lot of people think, “If I think the positive thoughts, or if I visualize having what I want, that will be enough.” But if you're doing that and still not feeling abundant, or feeling loving or joyful, then it doesn't create the power of the attraction.
It's probably the worst feeling in the world, when you're deeply and madly in love with a woman and you know she's not feeling you the same way, and you don't know why.
I think when you think of my films, I think hopefully you think of an extreme sort of real unfolding, real-time, performed, feeling semi-improvised, you know what I mean, all that.
I think I know the feeling of 'liking' someone, but I don't know what it means to 'love.'
I want girls to know that whatever you're feeling, I'm feeling too. All the things that you think make you crazy, it's OK to feel that way, and I'm gonna tell you why we feel that way.
I tried Botox one time and was permanently surprised for a couple of months. It was not a cute look for me. My feeling is, I have three children who should know what emotion I'm feeling at the exact moment I'm feeling it... that is critical.
I don't know if it's more acceptable or if black men are more comfortable. Black men certainly are more comfortable with it. I don't know that society, like white society loves it or black women. When you see a black man with a white woman there is a feeling that you have and I think the feeling is an instinctual feeling of you want her you don't want me. I don't look anything like her, so you don't like. You know what I mean? Something like that. It's a real instinctual primal thing.
I think that what's important as a director is to give your actors the feeling that they're protected, the feeling of confidence, the feeling that if they make mistakes, then as a director, you'll know how to help them. If you're able to convey that, then the actors will give you wonderful performances. As well as the author, you have to write scenes that give the actors the opportunity to show what they're capable of.
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