Mark Rothko Quotes

The fact that people break down and cry when confronted with my pictures shows that I can communicate those basic human emotions.. the people who weep before my pictures are having the same religious experience I had when painting them. And if you say you are moved only by their color relationships then you miss the point.

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

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.

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.

Music gets us in touch with our emotions in a way that's more intimate than any other art form.

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?

Art is the process of evoking pity and terror, which is not abstract at all but very human. What the self-styled modern artists are doing is a sort of unemotional pseudointellectual masturbation . . . whereas creative art is more like intercourse, in which the artist must seduce -- render emotional -- his audience, each time.

I think anything emotional adds to your acting and singing, no matter what it is that you go through. It will always add to it, never take away.

When I'm sitting writing, I know that something works if I've made myself cry, or laugh, or have a visceral emotion.

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

High culture is paranoid about sentiment. But human beings are intensely sentimental.

The first movie I ever cried at was when I was 10 years old and saw 'The Notebook' in theaters. I was like, 'Whoa, so weird. Crying at a movie? I'm not supposed to do that. So weird.' I didn't know that art could make you do that.

All art is about appealing to emotion.

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.

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

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.

Painting that does not radiate feeling is not worth looking at. The deepest-and rarest-of grown-up pleasures is true feeling.

I have always felt sorry for people afraid of feeling, of sentimentality, who are unable to weep with their whole heart. Because those who do not know how to weep do not know how to laugh either.

I approach everything the same. I try to make it as real as possible, whether you gotta make people laugh or make people cry, it's always the same approach for me. But if I start doing pratfalls, somebody please pull the plug on me.

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.

My goal is to connect with people emotionally. I take life’s experiences and translate them into music — music that hopefully creates an impact on the listener.

If we deny emotion, we lose all touch with our internal universe.

I don't deal in technique. I deal in emotions.

I think that in order to write really well and convincingly, one must be somewhat poisoned by emotion.