Connie Sellecca Quotes

Objects let you tell a narrative that encompasses everybody. Texts don't.

A film engages you emotionally and intellectually.

Everytime you see a flood like that on the news you tell yourself: That's it. That's my heart.

There were moments in 'Malala,' I felt very moved by the storytelling, and 'pleased' would be the wrong word, but the music could be part of what moved me: that I was trying to contribute to something that was meaningful outside the realm of creative work but just more in terms of the world.

We use wrestling moves to tell a story but it boils down to the character and being able to bring either love or hate out of your crowd.

Wrestling and sports entertainment is not about the moves, it really isn't. It's about being able to evoke emotion in one facet or another.

It is very touching that you are able to create some kind of impact through a character.

Growing up as a little, introverted boy, dance was the only way I could communicate. For me, it's the greatest language - no words. Sharing people's stories through the art of movement is magical.

Even if a song has shallow lyrics, there's something that you feel, regardless of what their lyrics are.

We're really interested in more visual storytelling, figuring out a way to blend our level of observation with a bigger visual scope.

I'm taken by a story and a character. I'll read a script, and if it touches me and moves me and makes waves, that's why I'll choose it.

I have come to the conclusion there is no point making anything if you're not going to make people laugh and cry.

I think it's touching that the fans feel so close to the characters that they feel personally hurt. I've felt that way in plenty of TV shows - 'Game of Thrones,' 'Mad Men.' How could they do that to that character? That's drama.

It's always useful to know that people are emotionally invested in a series because it means that you can take them down a certain road, and they should be interested.

What I strive to do is to make the theater experience something that people remember and recall rather than dismiss because it was less like their everyday experiences. So, I'm less interested in internal emotionalism and much more in making the audience laugh and cry by the devices that we use as theater actors.

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

My goal is to always try to make you feel something, whether that's humor or sadness or excitement, and to try to manipulate screen space.

When I read the script for 'War Horse,' I was in absolute tatters.

You really have to do your job as a writer and push people to be as creative as possible. What's nice about the TV medium is you have such a connection to the characters that when somebody dies, the audience cries. They really feel it. You really don't cry when someone dies in a horror movie.

I love fairy tales and feel very affected by them.

I believe with all my heart in delivering on my contract with my readers. They've got plenty of other things to do, so I had better give them a reason to turn every one of these 550 pages. This is my promise: I solemnly swear I'll make you laugh out loud at least once, cry a little in private, and burn whatever you left on the stove.

When you have the worst disaster in American history, you've got to be attuned to expectations,.

I'm trying to paint a picture of what I have seen and what moved me, as well as I can. That's all.

I get very emotional about time periods I never lived in, but I have a weird connection to them. The mystery of it becomes about hearing the stories of those eras, and creating nostalgia from those stories.

Sweet intercourse of looks and smiles; for smiles from reason flow.