Quotes About Emotion

I am a bit difficult to be around sometimes. I can be stubborn on a lot of things, and I'm set, but I can also adapt in a conflict situation and don't hold on to an ego. I end up seeing the larger good and adapt to it, provided it benefits me. I may come across as a cold person, but I am extremely sentimental.

A wonderful emotion to get things moving when one is stuck is anger. It was anger more than anything else that had set me off, roused me into productivity and creativity.

For 'Regulate,' I was at home, and I came up with it. I was listening to Michael McDonald's 'I Keep Forgettin'.' It was a record that I always loved, from being a kid and my parents playing it when they had their company of friends over. It was a record that just stuck in my head, and it just felt good.

For me, the power of the poetry in 'Milk and Honey' is the feeling you get after finished reading the poem. It's the emotion you feel once you've read the last word, and that is only possible when the diction is easy, and you don't get stuck on every other word, you don't know what the word means.

There's nothing worse than being stuck with a bad song.

Music draws me in. As soon as I hear it, I'm there. I'm stuck in it.

'Sairat' is such a consuming movie, so I was stuck into its story. It has such a poignant end that I was quite moved by it.

With a live audience, if you sing with the right feeling, the response you get is a high, an excitement. There's nothing in the studio that can give you anything quite like that.

I don't think about whether it's gonna be a dance record or a ballad or anything when I'm making music. I sit in the studio and I think, 'How am I feeling today?' and I write how I feel. It's really, really simple.

Emoting songs onscreen comes naturally to me since we do emote in the studio behind the mike as well. But acting in a full-length Bollywood film is a completely different ball game.

I was very empty after my father passed away. It was an emotional time, as it would be for anyone, but to be in the studio every day was kind of cathartic and healing and it just seemed very natural to continue.

Pop music for me was definitely escapist, but never studious.

I never went to school to study acting, so I'm doing this purely on feeling, and I give it my all.

1921' is a fantastic love story about people who are studying music. It has a fair leaning towards classic love story.

Dropkick Murphys get me going, Red Hot Chili Peppers, Nirvana... plus, all the regular hip-hop stuff.

No fake stuff. If you have a personal relationship with a female, it'll be easier and more real to do a song.

That's where humour lives for me. In the body. The Steve Martin kind of stuff or Jim Carrey, that's what I like. I've always felt that's what I would like to do.

Kenny Chesney's music cuts. He gets into those massive ballads like 'There Goes My Life' and 'The Good Stuff' and things like that that just crush you, and delivers them so well. Some of that you can't really put your finger on; it's just magic.

'400 Blows' was so much like my own childhood, it really stunned me.

I saw 'Othello' at the National Theatre in London, and it was so stunning. I was so moved. It's beautiful.

I've done a lot of action movies, and there has to be a certain amount of emotion in the actual performing of the stunt. It doesn't have to be any particular emotion, but there has to be some life to it, and that's not so easy.

Obviously, for safety reasons, there's some stuff I can't do, but fighting is more than just about nailing the moves accurately, to sort of pull off the stunt sequence. It's also about bringing emotion to it and character.

You can film the most exciting car chase and the most exciting stunts, but if you don't care about the person inside the car, and you don't care about their predicament, you're not really going to care about the action, either.

Music, dance sequences, action stunts are key parts in a commercial film but there has to be relatable content as well.