Eric Weiner Quotes

Wagner manages to convey emotion with music better than anyone, before or since.

What I have to offer as a writer/director is the stuff with the feeling in it.

My hope is for a literature that raises the language above the ordinary, makes words both functional and emotional, and to resonate at the frequency of the human spirit - the skill and insight of the writer lifting the parochial novel above the level of regional concern. Making it personal, national, and universal.

It's amazing that you can listen to any song and you can always tell when there's some substance beneath it and when there isn't. Even if it's poetically written and technically brilliant, I'd rather hear something that's all over the place but has some soul to it.

What matters in literature in the end is surely the idiosyncratic, the individual, the flavor or the color of a particular human suffering.

My films have a bold interpretation. They are unapologetic about showing intimacy. Going by the number of people who come to watch my films, this is what our target audience yearns for.

I just want to make art that connects with people and moves them on an emotional level. Any time I can put out music and place a story behind it and have people watch it and go, 'Wow, I was affected by that,' to me, feels like I've done my job.

I didn't expect to feel pathos for the villains in our show. I feel quite moved in several of our episodes; I never realized that a show like 'Motive,' which aims for a broad appeal, could have that sort of emotional impact.

I don't think movies can ever be too intense, but people have to understand why you're showing them the things you are showing them.

I wanted to make a film that was sophisticated and emotional, but for a wider audience.

Beethoven's Fifth Symphony is the most sublime noise that has ever penetrated into the ear of man.

I wanted to make comics that get at feelings that connect to the deepest moments of our lives, reading Tolstoy, Flaubert, Flannery O'Connor, Herman Melville, William Faulkner, Vladimir Nabokov and Carver to help gain the confidence to figure it out. I knew, however, the most doomed approach would be to simply create stories that felt 'literary.'

I just make films that attract me.

Whenever a film allows you to think and feel and take it beyond the moment, I think it's achieved something. And 'Funny Games' does that.

I make music for people to relate to and to connect with me. I want to tap into different emotions.

Just because something is melodic or catchy doesn't mean that it doesn't have depth and substance and progressive sensibilities.

You can hear songs that are technically great, songs that tick all the boxes. But for a song to be felt, you need something else.

I want to create films that will speak to different parts of our hearts and brains, stories told from a different angle.

Mozart for me is the No. 1 composer. His music is not just joy or sadness. It's deep emotion with a touch of lightness, which is the most difficult thing to do.

There's a lot of heart to Bob's work that doesn't always get recognized because of all of the sensuality, dark statements and wit of his work.

I want to entertain, but I'm interested in a whole range of feelings.

As an artist, it feels good that we've created something that is connecting with the audience, which is what we always strive to do.

It's important for cinema to keep on evolving: for people, and not only teenagers, to be able to go to a movie that has huge epic scope but has an intellectual and real story to tell.

My stated goal as a filmmaker is to feel something. Is to have a palpable emotion in my life, carry it through the gauntlet of the filmmaking process and try and have it land for an audience at some point during the viewing experience. That to me is successful filmmaking.

With every one of our films, we try to touch emotions, but we don't try to touch the same emotions each time.