Quotes About Emotion

There are words I don't want to say in my music. Some will say: 'Don't forget me.' I prefer: 'Always remember me.' I'm very wordy and psychological.

I put my heart and my soul into my work, and have lost my mind in the process.

I can sing the saddest song with a bunch of people, and the feeling of sharing that energy activates in a way that either heals it or makes me feel like I've risen a thousand miles above it into space, and I'm staring down on it as a little dot.

Sometimes a couple notes are worth a thousand words.

I have a store full of thousands and thousands of images in my brain. I've got this terrible feeling I'm like some abattoir boss: I know death; I know the cut pieces of the human body.

We see what music can do for people. Hell, we see what music does for us! When you see thousands of people out in front of you, it's fixing their lives. It's helping. It's healing. It's bigger than the inconvenience of jealousy or emotional storm clouds.

For thousands of years, humans have used the art of storytelling to motivate and persuade.

Patronage is a very old phenomenon that's occurred in people and in society for thousands of years. It stems from an emotional response to someone's art. It's a feeling of responsibility and importance and a desire to be a part of what they're making.

I've always had a teenage thread running through my music.

Normally my films have a single thread of an emotion, an insight or one single belief, and then I turn the entire story and build it around that.

What I get really excited about are movies that I connect with emotionally. 'Deliverance' was on TV, and they don't really make movies like that anymore, just simple and scary. The truly scary thing is, 'I'm going to threaten your life, I'm going to threaten the people you love. What are you going to do about it?'

I like songs that can be dark or threatening or dangerous, but its a better song if you can keep that and somehow stick a little bit of that things are going to be okay at the end, were going to work through this, and theres a brighter light on the other side of the road.

I don't always have to sing a song. There is something besides 'The Man That Got Away' or 'Over the Rainbow' or 'The Trolley Song.' There's a woman. There are three children. There's me! There's a lot of life going here.

There are three things we cry about in life, things that are lost, things that are found, and things that are magnificent.

War is not game. If you lose, you can be mad or sad two or three days. War makes you sad every day, every minute.

To me, the best love songs work on two - maybe three - different levels, where you're talking about the person who you're right opposite, and all the people like that.

I like three-dimensional characters - it's just more interesting when you get on set.

Whether it's a very dramatic part or a comical role, I feel I need to create the same thing: a full-fledged, three-dimensional character that the audience can identify with.

I do have a very strong threshold for anger.

Spending $1 for a brand new house would feel very, very good. Spending $1,000 for a ham sandwich would feel very, very bad. Spending $19,000 for a small family car would feel, well, more or less right. But as with physical pain, fiscal pain can depend on the individual, and everyone has a different threshold.

I don't think I threw myself into music because I had the best intentions; it was because I was really angry.

The song 'Almost Lover' is very important to me, because when I wrote it, I threw everything away. That kind of set the bar as a writer, as a singer, as a person.

It's all about escapism. That's essentially what all movies are about. It's a vicarious thrill.

In 'Clockwork Orange,' you're there with your eyes, watching all those things, your brain goes off, ahh, exposes you to so many things, and at the end of the day, it's just like a roller coaster. Why do you jump in a roller coaster? You want a thrill.