Quotes About Emotion

I like to play characters that get to do it all - to have a bit of comedy here and a bit of pathos here and a bit of suspense here, that's what's fun.

I'm interested in the human more than I'm interested in building suspense.

In suspense novels even subplots about relationships have to have conflict.

Gore, like blood and guts and stuff, I am fine. Suspense, I get super sensitive. I can't handle it.

I'm reaching for emotion and drama, the drama of the everyday: what happens when you don't have shelter, food, and clothing. There are some stakes. If you're displaced or evicted, there's a suspense: How will you solve that?

British culture is very cynical sometimes of overt displays of sentimentality, and I think that becomes almost a suspicion of emotion, or a suspicion of someone making a grand statement. It is always easier to be ironic, or 'meta', or coolly postmodern. But I think there is such a thing as authentic sentimentality.

Cinema sustains life. It captures death in its progress.

Glamour is an imaginative process that creates a specific emotional response: a sharp mixture of projection, longing, admiration, and aspiration. It evokes an audience's hopes and dreams and makes them seem attainable, all the while maintaining enough distance to sustain the fantasy.

I learned that love is a much more sustainable energy to draw on than hate.

I think poetry always lives its life, and people come to it and people go away from it, 'people' in the sense of larger numbers of people. It's as though you begin to think that poetry is a resource, and that at certain times people seem to need it or want it or can find sustenance in it, and at other times they can't.

'Swallow Me Whole' is still the creation that's closest to my heart.

Losses are always hard to swallow, and every sportsperson has the same feeling.

Mother' is something people can't swallow. It was about me visualising my connection with my mother, my journey through her belly, and it's 60 minutes long - it was never going to be understood by the masses.

When I saw the movie 'Black Swan,' I liked the darker aspect of it, the more dramatics, and that's what I like to do for my programs.

In the graver and more sentimental communication of man and man, the head still bears the superior sway; in the unreserved intimacies of man and woman, the heart is ever uppermost. Feeling is the main thing, and judgment passes for little.

The fact is that you're never gonna believe any of the reviews, because the movie is to you what it is to you. No one's ever gonna sway you from what you feel about it.

The great effort of civilization has been, and still is, the attempt to introduce a principle of control into that casual swarm of impressions which makes up men's thought and of which, especially with swayed by emotion, spontaneous action is the law.

A lot of people use a smiley face when they write letters. But it's this huge insane compulsion, like 'I'm happy! I swear!' I'm not buying it.

I swear, if you existed I'd divorce you.

I saw Dolly Parton play at the Glastonbury Festival to about 120,000 people. It was an ocean of human beings. I was a mile away from the stage, and I swear to God, I could feel her energy.

I swear too much.

When I need to get into details, I like French. But when I want to do something stronger, English is better. The swear words are stronger in English. And on the court, 'Allez!' is light. 'Come on!' That's strong.

The thing about sport, any sport, is that swearing is very much part of it.

I dread to be compared to all these directors who have a lot of spontaneous emoting and swearing in their films - that is death; it's a cul-de-sac. It doesn't lift the material at all. It's just a cliched reproduction of what we think is normal behaviour.