Quotes of All Topics . Occasions . Authors
There are likewise three kinds of dancers: first, those who consider dancing as a sort of gymnastic drill, made up of impersonal and graceful arabesques; second, those who, by concentrating their minds, lead the body into the rhythm of a desired emotion, expressing a remembered feeling or experience. And finally, there are those who convert the body into a luminous fluidity, surrendering it to the inspiration of the soul.
I had been used to improvising and even in the audition I was feeling free to rearrange Aaron Sorkin words a little bit, as lovely as they were. I didn't find out until after I got the part how furious Aaron was at me for doing that. They said, "He was livid. He did everything in his power not to jump down your throat!" But I came to realise that Aaron was writing in metre and the rhythm of the language is very important.
We had a great connection with Pedro Almodovar from the beginning. Even before I met him, it was so strange. I felt like I already knew him. I loved him even before I met him. It was so powerful. And when I looked at him in the eyes, this was the feeling that I knew I was going to have with him. It gets bigger and bigger every day. I adore him. It's much more than working together. He's a really special person in my life.
Acting doesn't have anything to do with listening to the words. We never really listen, in general conversation, to what the other person is saying. We listen to what they mean. And what they mean is often quite apart from the words. When you see a scene between two actors that goes really well you can be sure they're not listening to each other - they're feeling what the other person is trying to get at. Know what I mean?
I have skipped from style to style from film to film, and I love doing that because it's given me the ability to free myself from the past. Perhaps one of the worst feelings that I can have is the feeling that I'm locked in, like a prisoner of myself, which is something we all feel at some point in our lives. So part of making those stylistic jumps is just to free myself up-to get away from the old or the old Oliver Stone.
You know, it only happens a handful of times in your career, where you walk out of an audition feeling like all the stars aligned, my preparation paid off, something magical happened in the room. I've gotten really lucky and I've gotten to work a lot, and I would say it's only happened, like, two or three times, where I've walked out and been like, This was the right thing and the right choice and they should just cast me.
Signs usually come in threes. The same book is recommended to you several times within the space of a day, for example. You overhear someone mention the same company three times in a week. Or, you get the same feeling again and again. Notice your feelings. Again, true divine guidance feels safe, even if it does feel intimidating. False guidance feels edgy, shaky - like you're sneaking under the wire. It doesn't feel right.
The most rewarding part of my work is the "Aha" moment, the excitement of discovery and enjoyment of understanding something new - the feeling of being on top of a hill and having a clear view. But most of the time, doing mathematics for me is like being on a long hike with no trail and no end in sight. I find discussing mathematics with colleagues of different backgrounds one of the most productive ways of making progress.
The prevailing attunement is at any given time the condition of our openness for perceiving and dealing with what we encounter; the pitch at which our existence is vibrating. What we call moods, feelings, affects, emotions, and states are the concrete modes in which the possibilities for being open are fulfilled. They are at the same time the modes in which this perceptive openness can be narrowed, distorted, or closed off.
Once you begin to understand and truly master your thoughts and feelings, that's when you see how you create your own reality. That's where your freedom is, that's where all your power is. That's when you see how you can become a deliberate creator of your life. And when you are a deliberate creator of your life, and you use this law of attraction, you will have a life that is beyond what you can possibly imagine right now.
There is something intrinsically wrong about letters. For one thing they are not instantaneous. ... Nor is this the only trouble about letters. They do not arrive often enough. A letter which has been passionately awaited should be immediately supplemented by another one, to counteract the feeling of flatness that comes upon us when the agonizing delights of anticipation have been replaced by the colder flood of fulfilment.
A tree, young or old, if admired, remains a definite vision, and when after long absence it is visited again, the meeting place is approached with feelings of pleasure and curiosity as to how one's friend had fared, even with thoughts as to what changes may come to tree or visitor since first they met; this may seem like a foolish sentiment - perhaps it is. But, after all, sentiment is mingled with most that's best in life.
When faced with world problems - like hunger, overpopulation, nuclear weapons, the arms trade - you may be among those who are overwhelmed by a feeling of "Help! What on earth can I, just one person, do about this?" Take heart. That's a sane response. It's the basis for a whole new attitude to world problems, where change at the level of the individual is more and more recognised as essential to change in huge world systems.
There are times when personal experience keeps us from reaching the mountain top and so we let it go because the weight of it is too heavy. And sometimes the mountain top is difficult to reach with all our resources, factual and confessional, so we are just there, collectively grasping, feeling the limitations of knowledge, longing together, yearning for a way to reach that highest point. Even this yearning is a way to know.
At that age, filming Harry Potter, I never contemplated. I just went in there and did my acting. I never thought, "What's the character actually feeling here? What's he trying to get across?" And never looked at it from that classically trained actor's point of view. And so when Jason Isaacs started throwing up these ideas, I thought, "Whoa. What an interesting way to look at acting." Which is why, again, I would do theater.
Every time a resolve or a fine glow of feeling evaporates without bearing practical fruit is worse than a chance lost; it works to hinder future resolutions and emotions from taking the normal path of discharge. There is no more contemptible type of human character than that of the nerveless sentimentalist and dreamer, who spends his life in a weltering sea of sensibility and emotion, but who never does a manly concrete deed.
You can have lots of feelings and have the same feelings over and over again. It isn't the recognizable feelings that make so much difference. It is sensing the edge, the unclear, what you don't recognize, but it is there, the bodily discomfort that the problem makes, which has meaning; it has its own peculiar quality, implicity, it is complex, it has in it everything that relates to that problem, but not in a way you can say.
You have to be careful when it comes to copyrights, whether just sounding like or feeling like something is enough to say you violated their copyrights because there's a lot of music out there, and there's a lot of things that feel like other things that are influenced by other things. And you don't want to get into that thing where all of us are suing each other all the time because this and that song feels like another song.
Poetry reveals to us the loveliness of nature, brings back the freshness of youthful feelings, reviews the relish of simple pleasures, keeps unquenched the enthusiasm which warmed the springtime of our being, refines youthful love, strengthens our interest in human mature, by vivid delineations of its tenderest and softest feelings, and through the brightness of its prophetic visions, helps faith to lay hold on the future life.
Sometimes it seems the harder you try to hold onto something or someone the more it wants to get away. You feel like some kind of criminal for having felt, for having wanted. For having wanted to be wanted. It confuses you because you think that your feelings were wrong and it makes you feel so small because it’s so hard to keep it inside when you let it out and it doesn’t come back. You’re left so alone that you can’t explain.
Whatever you are doing, if there is contentment and a feeling that this whole existence is nothing but the manifestation of godliness, that we are traveling on holy earth, that whomever you are meeting, you are meeting God - there is no other way; only faces are different, but the inner reality is the same - all your tensions will disappear. And the energy that is involved in tensions will start becoming your grace, your beauty.
I'm now unemployed. It's a weird feeling with no work, but at least there's still golf. Standup comedy is like my core, it's what I do. But I want to be a pro golfer. It's a love/hate relationship with golf. I can come away feeling so serene, and yet, it's the thing that I can let get to me to throw a club and say curses that don't even exist. I'm obsessed with something that won't let me master it. I don't know. I need therapy.
Sundry manifestations of nature in men and women, are greatly perverted by existing social conventions upheld by both. There are feelings which, under our predatory régime, with its adapted standard of propriety, it is not considered manly to show; but which, contrariwise, are considered admirable in women. Hence repressed manifestations in the one case, and exaggerated manifestations in the other; leading to mistaken estimates.
Yes, of course, there's something fishy about describing people's feelings. You try hard to be accurate, but as soon as you start to define such and such a feeling, language lets you down. It's really a machine for making falsehoods. When we really speak the truth, words are insufficient. Almost everything except things like "pass the gravy" is a lie of a sort. And that being the case, I shall shut up. Oh, and... pass the gravy.
MORAL LAW, Evidence of.- Man has been subjected by his Creator to the moral law, of which his feelings, or conscience as it is sometimes called, are the evidence with which his Creator has furnished him. ... The moral duties which exist between individual and individual in a state of nature, accompany them into a state of society ... their Maker not having released them from those duties on their forming themselves into a nation.
When I have an exhibition, I usually arrange it so that if people want to, they can spend two hours there. That way, people who like it don't feel cheated when they go. I want them to walk into the exhibition space and look low and at other levels and angles. The same with emotions. I want them to be emotionally manipulated, to come out feeling something. I want them to laugh, smile, feel sad. Even if they feel angry, that's okay.
All I know for sure is that dreams are the pictures of states wanting to turn into processes. Dreams are maps of the beginning of an otherwise unchartered trip into the unknown. They are pictures of the unknown which appear in many channels. Because process work is body-oriented, I put a stress upon feelings, but dreams are not pictures of just feelings; they are pictures of the way the unknown is showing itself in a given moment.
The whole notion of sanity may be an attempt to medicalize morality - to speak of the good in the language of health: to make us more accurate, more scientific in our wanting - but by the same token it becomes a form of moral blackmail. It is as if to say: if these are not valued - if these forms of wanting and feeling and speaking and doing - are not cultivated and encouraged and rewarded in the child, then the child will be mad.
It is impossible to read the history of the petty republics of Greece and Italy without feeling sensations of horror and disgust at the distractions with which they were continually agitated, and at the rapid succession of revolutions by which they were kept in a state of perpetual vibration between the extremes of tyranny and anarchy . . . great improvement . . . were either not known at all, or imperfectly known to the ancients.
When we are in love, our love is too big a thing for us to be able altogether to contain it within ourselves. It radiates towards the loved one, finds there a surface which arrests it, forcing it to return to its starting-point, and it is this repercussion of our own feeling which we call the other's feelings and which charms us more then than on its outward journey because we do not recognise it as having originated in ourselves.
But how can we love someone if we don't like him? Easy-we do it to ourselves all the time. We don't always have tender, comfortable feelings about ourselves; sometimes we feel foolish, stupid, asinine, or wicked. But we always love ourselves: we always seek our own good. Indeed, we feel dislike toward ourselves, we berate ourselves, precisely because we love ourselves; because we care about our good, we are impatient with our bad.
Some feelings are quite untranslatable; no language has yet been found for them. They gleam upon us beautifully through the dim twilight of fancy, and yet when we bring them close to us, and hold them up to the light of reason, lose their beauty all at once, as glow worms which gleam with such a spiritual light in the shadows of evening, when brought in where the candles are lighted, are found to be only worms like so many others.
(After Nicholas tells Dahlia that he loves her) "...Just don't break my heart my heart, Dahlia. I've never handed it over to anyone before." She placed both hands over his. "I've never had anyone's heart. I don't know the first thing about keeping hearts. You're taking a terrible risk." "That's what I do best." ... "Are you feeling relaxed now?" ... "I was until you started throwing around the L-word. That's enough to scare anyone.
I always have the feeling that my subjects are the same - I'm just changing my point of view. I'm going to move a little bit this time and watch it a different way. But at the end, I think I'm always fascinated by the same things, except I will express them over and over again, with different words, with different colors, with different shapes. But strangely it will always be the same topics or subjects that are so important to me.
In building a path through the self to the far shore of awareness, we have to carefully pick our way through our own wilderness. If we can put our minds into a place of surrender, we will have an easier time feeling the contours of the land. We do not have to break our way through as much as we have to find our way around the major obstacles. We do not have to cure every neurosis, we just have to learn how not to be caught by them.
I have simplified my politics into an utter detestation of all existing governments; and, as it is the shortest and most agreeable and summary feeling imaginable, the first moment of an universal republic would convert me into an advocate for single and uncontradicted despotism. The fact is, riches are power, and poverty is slavery all over the earth, and one sort of establishment is no better, nor worse, for a people than another.
It's the loneliest feeling in the world-to find yourself standing up when everybody else is sitting down. To have everybody look at you and say, 'What's the matter with him?' I know. I know what it feels like. Walking down an empty street, listening to the sound of your own footsteps. Shutters closed, blinds drawn, doors locked against you. And you aren't sure whether you're walking toward something, or if you're just walking away.
Clearly recognizing what is happening inside us, and regarding what we see with an open, kind and loving heart, is what I call Radical Acceptance. If we are holding back from any part of our experience, if our heart shuts out any part of who we are and what we feel, we are fueling the fears and feelings of separation that sustain the trance of unworthiness. Radical Acceptance directly dismantles the very foundations of this trance.
There has to be a moment at the beginning where you wonder whether you’re in love with the person or in love with the feeling of love itself. If the moment doesn’t pass, that’s it—you’re done. And if the moment does pass, it never goes that far. It stands in the distance, ready for whenever you want it back. Sometimes it’s even there when you thought you were searching for something else, like an escape route, or your lovers’ face.
There are three distinct kind of judges upon all new authors or productions; the first are those who know no rules, but pronounce entirely from their natural taste and feelings; the second are those who know and judge by rules; and the third are those who know, but are above the rules. These last are those you should wish to satisfy. Next to them rate the natural judges; but ever despise those opinions that are formed by the rules.
I don't particularly like the idea that there's an arc to the story and that therefore in this scene you have to convey this bit of information or emotion. I like more the feeling that, of course, there is a shape to the story, but that each scene should feel right, should be true at that moment, and that gradually you accumulate these moments of truth until you get enough of them together that it becomes a story that's interesting.
A precondition for being a science fiction writer other than an interest in the future is that, an interest - at least an understanding of science, not necessarily a science degree but you must have a feeling for the science and its possibilities and its impossibilities, otherwise you're writing fantasy. Now, fantasy is also fine, but there is a distinction, although no one's ever been able to say just where the dividing lines come.
Adolescents may be, almost simultaneously, overconfident and riddled with fear. They are afraid of their overpowering feelings, oflosing control, of helplessness, of failure. Sometimes they act bold, to counteract their imperious yearnings to remain children. They are impulsive, impetuous, moody, disagreeable, overdemanding, underappreciative. If you don't understand them, remember, they don't understand themselves most of the time.
The thought must have its own center of gravity; it cannot just be either here or there. We must find this center of gravity. It is the same for the body; if it is not centered, no movement will be possible. It is the same for the feeling. These Movements are designed to enable us to pass from one center of gravity to another; it is the shift that creates the state. The gesture, the movement, is what is important, not the attitudes.
Say anything you want against The Seventh Seal. My fear of death - this infantile fixation of mine - was, at that moment, overwhelming. I felt myself in contact with death day and night, and my fear was tremendous. When I finished the picture, my fear went away. I have the feeling simply of having painted a canvas in an enormous hurry - with enormous pretension but without any arrogance. I said, 'Here is a painting; take it, please.'
Words fail me sometimes. I have read most every word in the Webster’s International Dictionary of the English Language, but I still have trouble making them come when I want them to. Right now I want a word that describes the feeling you get – a cold sick feeling deep down inside – when you know something is happening that will change you, and you don’t want it to, but you can’t stop it. And you know you will never be the same again.
Europe is sort of like the Soviet Union in the '30s and '40s. There was an argument, is it reformable or not? There is a feeling, and I think it's correct, that the European Union, the eurozone, and the euro, is not reformable, as a result of the Lisbon treaties and the other treaties that have created the euro. Europe has to be taken apart in order to be put together not on a right-wing, neoliberal basis, but on a more social basis.
The 1970s was the decade of liberation, of anger at injustice and demands for recognition and rights. But over time, the demand for specific rights degraded into a generalized sense of entitlement, the demand for specific recognition into a generalized demand for attention and the anger at specific injustice into a generalized feeling of grievance and resentment. The result is a culture of entitlement, attention-seeking and complaint.
In fact, if you read what Kant has to say about feeling, desire and emotion, you see that he is not at all hostile to these. He is suspicious of them insofar as they represent the corruption of social life (here he follows Rousseau), but he also thinks a variety of feelings (including respect and love of humanity) arise directly from reason - there is, in other words, no daylight between the heart and the head regarding such feelings.
John Lennon was just one of us, another human just trying to get through the day, and help make tomorrow a little better. And he was willing to put his thoughts and feelings about all that into his music, and when he had the chance to speak in interviews. He was only around for a short time, but he learned so much and was willing to give his heart and mind to all of us. What he had to say still resonates with me, with all of his fans.