Quotes About Emotional

I've studied a technique called the Sanford Miesner technique, that teaches you how to focus. It's mainly about daydreaming. And the technique's really about imaginary circumstances. Using your imagination to sort of daydream about stuff. It makes you emotional in a scene.

I personally always find something really scary about watching little girls learning to manipulate their dads by baby talking. Then they grow up and use the same technique on their boyfriends or husbands. That scares me because it's just so sick on so many levels.

If you feel like there is going to be an emotional reaction that won't be helpful to resolve the situation, anger or other things, disarm the situation in some way, and you can use different techniques to do that.

My parents were reluctant to let me start auditioning until I was at least a little bit emotionally stable - I'm still working on that! And so I started when I was fifteen, and it was the best thing that could have happened to me in terms of being able to focus my crazy teenage energy into something good.

In many respects a teenage girl's home is more important to her than at any time since she was a small child. She also needs emotional support and protection from the most corrosive cultural forces that seek to exploit her when she is least able to resist.

'Virgin Suicides' was such a big movie to me as a teenage girl. It blew me away.

I feel like it's just so important for child and teenage development to have music in your life, honestly. And I just think it's really, really, really rewarding to me, personally, just emotionally, to know that I might have brought that into someone's life. And that just means a lot to me, because I know how important it can be.

I'm definitely very interested in doing female narrators that aren't typically feminine or emotional or soft - especially teenage girls - because I have such a hard time relating to so many of them that I read. They feel psychologically cuter to me than I ever was.

As a teenager I was severely, cripplingly dramatic and in search of self.

A teenager can find lots of games, but that's not necessarily true for adults over 30. As you get older, you desire more intellectual, emotional experiences. If you look at film, there's many different genres. No matter how old you are, you can find the type of movie you like. That's a sign of a mature medium.

I was interviewed for a Grammy television show, and they asked me about Nashville, and I talked for three minutes and when I finished, I was teared up. The whole room was crying. Nashville has given me a home, where I never had a home before.

When you see me on the pitch, I will always be smiling, always laughing, always playing jokes. I grew up as somebody who was always laughing. In England, people will tell me that I should not laugh, but you cannot stop me from laughing. It's impossible.

Telling my story has not been easy for me. I've had to dredge up memories I would have rather forgotten. The lonely, anxiety-ridden months I avoided others, attempting to hide from interrogations about my social life.

It seems to me that humour is everybody's way of keeping sane and standing off from the situations so that they can see it intellectually, as well as emotionally, and I don't know whether you've noticed, but if somebody tells a joke, it's nearly always a mini fantasy.

Music is very nebulous, and you can conjure up a lot of moods with music. But lyrics - they're a lot more tangible. They're much more specific. And you want to say something meaningful and creative and artistic and that tells a story and that takes people someplace else.

I am very fussy; I am very detailed; I nag a lot. So in a sense, I am like Mr. Ping. I am temperamental, I am emotional, I'm fussy, and I'm very exact. And I want people to not fail; I want them to execute - all those things Mr. Ping wants in other people. Or animals.

What a director really does is set the emotional temperature and the mood and the level, amount, or lack of, distance between the action and the character, and the character and the audience.

I think music talks to you on an emotional level, regardless of where you're from. I guess I related to the tempo of rap, the aggressiveness.

I regard longings for twinship or emotional kinship as being reactive to emotional trauma, with its accompanying feelings of singularity, estrangement, and solitude.

Although the possibility of emotional trauma is ever-present, so too is the possibility of forming bonds of deep emotional attunement within which devastating emotional pain can be held, rendered more tolerable, and, hopefully, eventually integrated.

and those poor souls who were lonely and just wanted to talk.

She didn't have much choice. There wasn't anyone to comfort her, and so she'd never learned how to be comforted. She was trying.

Please don't give me words; give me a hug. Don't tell me that I'm holding up so well; break down with me and admit our shared wretchedness. Don't feign some bright mountaintop; walk with me through the dark valley where neither of us can utter a word.

Again the governor knelt, for part of his wisdom was the knowledge that a woman in such an emotional tempest is as perilous as a blind cobra to any about her.