Edna Ferber Quotes

People think I am unemotional because my voice is flat and a bit boring. It is unfortunate but it is just the way it is. I've tried to change it but it doesn't seem to make a difference. The truth is, I have lots of emotions inside. I cried after the semi-final at Wimbledon [2012] because I was proud to reach the final and I knew how much it meant to the country. I cried after the [losing] final [to Federer], too, for different reasons. I felt I had let people down. I think people warmed to that. They could see how much it hurt.

If you're feeling emotional when you're creating something, it'll sound that way.

I think that with any emotion - fear, love, nervousness - if the actor's feeling it, then the audience feels it.

I think in order to write really well and convincingly, one must be somewhat poisoned by emotion, dislike, displeasure, resentment, fault-finding, imagination, passionate remonstrance, a sense of injustice-they all make fine fuel.

You've got to sell your heart, your strongest reactions, not the little minor things that only touch you lightly, the little experiences that you might tell at dinner. This is especially true when you begin to write, when you have not yet developed the tricks of interesting people on paper, when you have none of the technique which it takes time to learn. When, in short, you have only your emotions to sell.

When did "sentimental" become a pejorative barb? I do not at all share the notion that a piece of music, or a poem, or a film that bypasses the brain and aims straight for the heart . . . should automatically be heaped with scorn. I think it is symptomatic of a sad and dangerous impoverishment of spirit.

I don't have to come up with a ha-ha belly laugh every day, but drawings with warmth and love or ones that put a lump in the throat. That's more important to me than a laugh.

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.

If a reader comes across a story that makes them cry, you can be sure that the writer felt every single thing that makes the reader cry.

Blue' is actually my favorite chapter because it captures sadness more than the other chapters. That might sound weird but I've always been drawn to the rawest emotions.

I get very tired of books that feel emotionally empty. I would much rather have writers err on the side of being overly sentimental than not. I think that the perfect balance is a story that moves you without being maudlin, but I don't enjoy books that are empty of emotion and there's no connection to the characters.

I think people pick up on that. You use personal stuff and mix it all in - I definitely pull on that stuff in my acting.

I get an audience personally involved in a song - because I'm involved myself. It's not something I do deliberately: I can't help myself. If the song is a lament at the loss of love, I get an ache in my gut. I feel the loss myself and I cry out the loneliness, the hurt and the pain that I feel.

But I don't want to have to stop feeling. I really think I'd rather die than stop feeling.

I think it's one of the nicest privileges as an actor is to know that you can move people in one moment, make them think about their lives, or make them laugh or make them cry or make them understand something. Or just make them feel something because I think so many of us, including myself, spend too much time not feeling enough, you know?

I gotta do some sad scenes. Why, I never tried to make anybody cry in my life! And I go 'round all the time dolled up in kippie clothes-wear everything but a corset...can't stub my toe in this picture nor anything! Just imagine having to play-act all the time without ever getting hit with anything!

Write to the mind and heart, and let the ear Glean after what it can.

Think about love, or hate, or joy, or pain- whatever makes you feel something, makes your palms sweat, or your toes curl. Focus on that feeling. When people don't express themselves, they die on piece at a time.

All fiction, if it's successful, is going to appeal to the emotions. Emotion is really what fiction is all about. That's not to say fiction can't be thoughtful, or present some interesting or provocative ideas to make us think. But if you want to present an intellectual argument, nonfiction is a better tool. You can drive a nail with a shoe but a hammer is a better tool for that. But fiction is about emotional resonance, about making us feel things on a primal and visceral level.

I am stronger than words and I am bigger than the box I'm in, and then I see her in the crowd and I fall apart -I am listening and I am listening because what I'm playing isn't something I'm thinking about, it's something I'm feeling all over.

I know that I've had a very fortunate life, but also I think my job as an actor is to connect emotionally to human beings.

In short, you have only your emotions to sell. This is the experience of all writers.

Eyes which have lost their tears have lost their most beautiful, their most glorious treasure.

I think the book is less emotional than the film. With the film, the emotions are much more raw and in front. In the book, they are kind of ironized and seen through comedy.

If you would write emotionally, be first unemotional. If you would move your readers to tears, do not let them see you cry.