Til Schweiger Quotes

The idea is to write it so that people hear it and it slides through the brain and goes straight to the heart.

You got to have an emotional connect with the audience who watch you.

At heart, we believe that the films that work well are the films that do touch people emotionally.

I want to make a movie that can grab people by the heartstrings.

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

The people only understand what they can feel; the only orators that can affect them are those who move them.

A film should be an experience. You should feel something. It should motivate you to feel something.

I prefer when movies target my heart instead of my mind.

If you're not connected emotionally to a story, then you're dead. You're really just opening the door for people to lose interest and their minds to wander, for them to start picking it apart.

Well, for people who want to write best sellers, the best advice I can give is to say that the novel has to engage the reader emotionally.

The failures of other genres to provide an emotional connection with some of their characters and narratives gives memoir a toehold.

The early seasons of 'The Simpsons' had a great deal of heart. That's what I'm trying to pull from, the kind of stuff that goes straight to kids' hearts. When they're watching, they don't necessarily know why they love something.

You can say the right thing about a product and nobody will listen. You've got to say it in such a way that people will feel it in their gut. Because if they don't feel it, nothing will happen.

If you don't have something that glues the audience to the screen, you're in trouble.

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 am very into lyrics. I start with what the words are saying, what the storyline is saying, like a good script. It should really capture me, do something for me. If I don't get it, it's not going to move people, and if it's not going to move people, it's not going to happen.

The big thing for me is to make films that you feel, whether you feel happy, whether you feel sad, whether you feel sick; it's to make the audience feel so that the next day they remember what they saw.

I try to bring the audience's own drama - tears and laughter they know about - to them.

My purpose as a writer is to communicate in such a way as to challenge the thinking of readers and touch their hearts.

A good story should make you laugh, and a moment later break your heart.

I don't think you can cry if the script is rubbish. I have to feel it; it's as simple as that. It's just like if you're watching something moving, and you feel yourself welling up. It's the same thing. You're just being carried along with the story. There's nothing magical about it. I think I'm in touch with my emotions, and I can't help it.

Eventually, when I got the 'Meadowland' script, I saw something in it that made me think I could make something special out of it, something that could work with my style. Emotionally, I connected to it. I thought, 'If I feel this way just imagining it, maybe we can make that happen on screen and make people feel something when they watch it.'

I want to make people feel something - that's really cool.

I've come to the realization that you can entertain people both through making them laugh and making them feel. You can be quiet, and they can feel, and you will have scored as well.

Love stories should be relatable.