A Quote by Shefali Shah

What I normally do with long scenes is that I understand the emotional content and the words fall into place. — © Shefali Shah
What I normally do with long scenes is that I understand the emotional content and the words fall into place.
What I found was an emotional consistency with him. The words, the scenes, the situations - I wasn't mimicking what I thought Branch Rickey's emotional reality would have been.
Sociopaths differ fairly dramatically in how their brains react to emotional words. An emotional word is love, hate, anger, mom, death, anything that we associate with an emotional reaction. We are wired to process those words more readily than neutral, nonemotional words. We are very emotional creatures. But sociopaths listen as evenly to emotional words as they do to lamp or book - there's no neurological difference.
It doesn't excite me as a writer to write some swearing or sex scenes, because they don't have any emotional content.
We have to understand that content is king now. And it doesn't matter what the source of the content and where it's coming from, as long as it is workable.
It's a big criticism of Greenaway films that they are far too interested in formalism and not enough interested in notions of emotional content. It's a criticism I can fully understand from a public that has been brought up by Hollywood movies that demand intense emotional rapport.
We shall be made truly wise if we be made content; content, too, not only with what we can understand, but content with what we do not understand-the habit of mind which theologians call, and rightly, faith in God.
I write the big scenes first, that is, the scenes that carry the meaning of the book, the emotional experience.
Most songwriting like poetry takes a careful selection of words. Sometimes you're just channeling something and a selection of words come out that you wouldn't normally say, but you come up with an assortment of words that are really special. It just makes sense even if it's normally how you wouldn't express yourself.
Two words guided the making of 'Babel' for me: 'dignity' and 'compassion.' These things are normally forgotten in the making of a lot of films. Normally there is not dignity because the poor and dispossessed in a place like Morocco are portrayed as mere victims, or the Japanese are portrayed as cartoon figures with no humanity.
I opened my mouth wide one time to see if the words I was thinking would fall out, but they wouldn’t. If words don’t want to come out, they don’t. I don’t understand when people say things and then they say, I didn’t mean to say that. Words don’t just fall out. You have to push them out. And sometimes, you can’t push them out, even if you want to.
Long scenes of emotion are quite difficult - you've got to build up to them and make sure you're in the right emotional space.
High-class kitsch may well be "perfect" in its form and and composition: the academic painters were often masters of their craft. Thus, the accusation that a work of kitsch is based not on lack of for or aesthetic merit but on the presence of a particularly provocative emotional content. (The best art, by contrast, eschews emotional content altogether.)
It is because as we are, our hearts are closed, and we cannot place the holy words in our hearts. So we place them on top of our hearts. And there they stay until, one day, the heart breaks and the words fall in.
I've been spoilt with 'Emmerdale' over the years. I've had a taste of high drama, action, explosive scenes, emotional scenes and the odd bit of comedy with Bernice.
The digital world is one that has sort of a unique characteristic, where it's a place in which it's very easy for the value of content to fall.
Usually climax scenes have emotional or action scenes but Podaa Podi' has a climax with a dance performance.
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