John Ruskin Quotes

If you smile when no one else is around, you really mean it.

I love you," she said, and I knew she meant it because she spoke the words from the heart at the center of her chest. This, at least, had not been left behind at the hospital.

So many times, you get a script and it says, "And then, the character cries," and you read the lines and think, "That would never make me cry. Those lines are so untruthful." My approach is just to be honest to the situation.

If a writer stops observing he is finished. Experience is communicated by small details intimately observed.

All of these things we're talking about now, it will take time to sink in. But when voters begin to realize what we're really up against here, and what he's trying to do, I think you're going to see a sea shift here pretty quickly.

I don't think I've ever written anything even remotely naturalistic. The closest probably would be seen as 'Frankie and Johnny,' and that's only 'cause they eat a sandwich and make an omelet in act two. But it's a romantic fairy tale, and I'm very aware of that. I don't think it helps the actors in my plays to lose themselves in the reality of talking to another person. A good McNally actor always knows he's in a play with an audience.

All my movies have an autobiographical dimension, but that is indirectly, through the characters. In fact I am behind everything that happens and that is said, but I am never talking about myself in first person. Something in me - probably a dislike of cheap exhibitionism- stops me from approaching a project too autobiographically.

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.

This whole theory of alienation that intellectuals have been passing on, really is just to stop a lot of ham acting. If you fill something with a proper emotion, it didn't worry him at all.

The marrying of an actor and his whimsical and theatrical vision is very enjoyable, because he wants it to be filled with something honest, truthful, human, soulful, substantial.

In interviews, on the set, talking to people, I'll just start talking about my parents' divorce, and go on and on. My mom's always like, 'You don't have to be that honest. You have to be more fake.' You see some of these actors, they have a permanent smile on their face. How can they do that? It really fascinates me.

Like a plank of driftwood Tossed on the watery main, Another plank encountered, Meets, touches, parts again; So tossed, and drifting ever, On life's unresting sea, Men meet, and greet, and sever, Parting eternally.

When you act, it's better not to fake the emotion. It's better to find the emotion within yourself and your experiences, and see if you can bring that back to the surface, so that you can then literally hand it off to the character, and then let him run with it.

If you ant to feel deeply, you have to think deeply. Too often we separate the two. We assume that if we want to feel deeply, then we need to sit around and, well, feel. But emotion built on emotion is empty. True emotion- emotion that is reliable and does not lead us astray- is always a response to reality, to truth.

When the first-rate author wants an exquisite heroine or a lovely morning, he finds that all the superlatives have been worn shoddy by his inferiors. It should be a rule that bad writers must start with plain heroines and ordinary mornings, and, if they are able, work up to something better.

It is easier to manufacture seven facts out of whole cloth than one emotion.

The smallest detail can contribute to the whole, I think particularly with emotion, you want it to be as authentic as it can, whether its a artifact or a theatrical event. But the whole is the sum of so many images.

I was happy but happy is an adult word. You don't have to ask a child about happy, you see it. They are or they are not. Adults talk about being happy because largely they are not. Talking about it is the same as trying to catch the wind. Much easier to let it blow all over you.

With a lot of what we take to be true feelings, especially on pop records, we feel them because they're cleverly crafted. And because the words are written by somebody who knows how to craft words and draw on those things and convey those feelings. That doesn't mean they're dishonest. But it also doesn't mean that it's all just pure primitive emotion spilling out.

You don't want to repeat yourself for one. You don't want to fall into the clichés for another. And you don't want to be licentious really. You want to be descriptive, if you can be. And you're not setting out to arouse anybody.

I did not believe political directives could be successfully applied to creative writing . . . not to poetry or fiction, which to be valid had to express as truthfully as possible the individual emotions and reactions of the writer.

The only reason I do these interviews - I hate talking about myself, I hate doing this stuff - is because incredibly well-meaning people, whom I respect and trust, tell me that this will help bring about positive changes. It's not going to cause a sea change, but it will benefit the public.

More and more I find myself at a loss for words and didn't want to hear other people talking either. Their conversations seemed false and empty. I preferred to look at the sea, which said nothing and never made you feel alone.

...my soul always reverts to the Old Testament and to Shakespeare. There at least one feels that it's human beings talking. There people hate, people love, people murder their enemy and curse his descendants through all generations, there people sin.

How do we meditate silently? Just by not talking, just by not using outer words, we are not doing silent meditation. Silent meditation is totally different. When we start meditating in silence, right from the beginning we feel the bottom of a sea within us and without. The life of activity movement and restlessness is on the surface, but deep below, underneath our human life, there is poise and silence. So, either we shall imagine this sea of silence within us or we shall feel that we are nothing but a sea of poise itself.