Quotes About Expression

I think some songs on the EP, especially one called 'Blu', I've allowed myself to become vulnerable and express more of my sadder emotions.

I think as an actor, you have to make yourself vulnerable to emotions.

I prefer to avoid the phrase 'strong women' when talking about female characters and the lack thereof or the need therefore, because it's not about being strong, it's also about being vulnerable, funny etc.

Doing interviews after a game, you can't give your true emotions. You can't tap into them. So when you do that for so long, you go into acting and it can be difficult to suddenly just be open and vulnerable.

It was a slow process of getting closer and closer to my actual personality on stage. And now there's very little separation. I definitely find the more open and vulnerable I am, the more people enjoy it.

I hope many think that I can also do vulnerable parts and not macho, antagonist parts in which they've seen me.

It's really easy to hide in metaphor or hide in a solo or instrumentation, but when you're saying explicitly this is how I feel it's a bit different - it makes you a more vulnerable person.

What's wrong with being a snowflake? I think if you're calling someone a snowflake that just means you've been upset by something they're saying. We're all vulnerable, get over it.

I've never been afraid of being vulnerable on stage. It's a large part of life, and I think it's being dishonest to disallow an audience to see that side.

I feel that somewhere actors are vulnerable, that they need to be protected and this is why we find ourselves living life much less than more.

I try and be as vulnerable in my comedy as possible, to open that door for other people.

I wanted to do standup, but I was too nervous. I felt it was too vulnerable basically to be yourself on stage.

As an actor you have to be vulnerable or you're just not going to cut it.

I think that there was a part of me that hoped that maybe people will be able to connect to what I was saying. But it was quite a scary thing, actually, making that decision to put music out there, and to be so vulnerable.

Belly made me aware that you could write songs that were mysterious or vulnerable. Their guitar-led music was in some ways very simple, the opposite of the pop music I was brought up with, like Michael Jackson. It made me realise music was something that you could be part of, make in your room.

It's hard to constantly delve into your psyche and unearth these deep and often painful feelings and hold them out in front of people and say, 'Here's the most vulnerable part of me.'

People are always happy to tell you what they think of as bad taste, but when you ask them what they really like themselves, theyre suddenly very vulnerable.

But I always need to identify with a character to write about him or her - and by 'identify,' I mean see the world through that person's eyes and have a strong sense of the inner logic of their acts and decisions, wacky or wrongheaded though they might be. In that sense, I think there's some of me in all of them.

I'm not over the top; I'm not wacky. I'm fairly understated, and that reflects in the way I sing.

Arty. To me the word's got as much venom associated with it as 'wacky'.

I've been guilty of being in the writers' room and going too dark; other people have gone too wacky and zany.

I wear girls' jeans, a lot of black, and I wear a lot of jewelry. I'm a wacky person!

I feel like, with most filmmakers of my generation, I like the over-the-top stuff. I like to be wacky and really in your face.

It's much easier for me to think in terms of character movement and emotion and story rather than, 'What are some wacky hijinks we can throw together?'