Adrian Tomine Quotes

As a writer, as a storyteller, you have to have your emotions close, and the older I've gotten, the less I've worried about not displaying emotions.

By removing the stories from the morass of things that surround us, I'm hoping to achieve some kind of purer approach to emotional life.

The core of the film is usually something very emotional and something that feels really real that you can relate to, it's not like done in a false way. You know a lot of films will treat emotion falsely and you can sense that very quickly.

I tell the stories in the way that feels natural to tell them.

I think, for me, I have to remember that I'm telling a story in some way.

I am interested in personal stories because that's when people become expressive, spontaneous and heartfelt.

Country Music is great music because it really comes from real life experiences. It is such a great haven for reality.

I'm not as worried about the process of writing, simply because I think I've got that one down, you know? I think I know what brings specificity to these ideas, what brings specificity to the genre elements, or anything else, and it's personal emotions.

My songs examine and explore little specific emotions or situations or stories... They're kitchen table songs, like a conversation between me and one other person. It's almost like an alien has been sent to get emotional samples from human beings and put it all together on a record.

For me, what makes great actors, always is how truthful they are to the character and the story and the emotion that they're trying to tell.

My goal is to tell good stories. And to try as best I can to do something new with acting. To learn from the past and to be a relevant artist. To make stories that are interesting and contemporary and to tell some kind of emotional truth.

When she told a story, she rolled her eyes and waved her head and was very dramatic.

I'm insane, I'm emotional, but I'd rather be that than a robot. So that's definitely something that I wanted to get out there. Especially with Cry Baby's story, because the album is about Cry Baby but I realized that me and her went through the same change.

Good writers show rather than tell. Stories are told in action. Life stories are no different.

Write straight into the emotional center of things. Write toward vulnerability. Don't worry about appearing sentimental. Worry about being unavailable; worry about being absent or fraudulent.

If you just tell the story of what the storys about, then it sparks curiosity, but I think it also arouses suspicion, as you say, that it could be overly sentimental. But it so isnt. And I think it was all about doing the inner work and then underplaying everything.

In my opinion, trying to guess what readers want is the wrong approach. You have to tell your story as best you can and as true to yourself as possible. You have to be honest and fair and vulnerable and foolish and brave, and not care what anyone thinks of it.

Poems infatuated with their own smarts and detached from any emotional grounding can leave the reader feeling lonely, empty and ashamed for having expected more. Like icy adolescents, such poetry is more interested in commiserating than acknowledging that feelings — the sentiments that make us susceptible to sentimentality — actually exist.

It's much easier to cry or be angry, but to really laugh and genuinely be buoyant and laugh. That's hard if you don't really feel that way.

I don't want to be a propagandist, no matter how good the cause. I want to tell stories. It's just that the stories have to square with my consciousness as a woman and my conscience as a human being.

I seem to know all the cliches, but not how to put them together in a believable way. Or else these stories are terrible and grandiose precisely because all the cliches intertwine in an unrealistic way and you can't disentangle them. But when you actually live a cliche, it feels brand new, and you are unashamed.

Aziz winked at him slowly and said: “...There are many ways of being a man; mine is to express what is deepest in my heart.

I have never been able to understand the complaint that a story is "depressing" because of its subject matter. What depresses me are stories that don't seem to know these things go on, or hide them in resolute chipperness; "witty stories," in which every problem is the occasion for a joke; "upbeat" stories that flog you with transcendence. Please. We're grown ups now.

Sometimes their oppression of emotion and the weird way it comes out is more interesting than painting it in bold primary colors.

My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it.