Music seems hard-wired into our very being. It moves us, stirs us to action, sets us in motion, sticks in our memories and minds.
I'm an emotional person. I chose films based on emotions.
All conviction - and so, necessarily, conversion - is based on the motor and emotional aspects of the mind.
Whatever makes an impression on the heart seems lovely in the eye.
We think we understand a song's lyrics but what makes us believe in them, or not, is the music
There's a degree to which music bypasses our rational brain and accesses our emotional core in a way that's really visceral and allows you to make a strong impression on people without necessary delivering information.
Our judgments when we are pleased and friendly are not the same as when we are pained and hostile.
As soon as I hear a sound, it always suggests a mood to me.
When Keats says: 'Axioms in philosophy are not axioms until they are proved upon our pulses', what he means is that we don't necessarily believe what a poem is saying if it comes out and tells us in an absolutely head-on, in-your-face way; we only believe it to be true if we feel it to be true.
The big thing for me is to make films that you feel, whether you feel happy, whether you feel sad, whether you feel sick; it's to make the audience feel so that the next day they remember what they saw.
We are no longer the same after hearing certain sounds, and this is more the case when we hear organized sounds, sounds organized by another human being: music.
You can't hear a word and just hear it as raw sound; it always evokes an associated meaning and emotion in the brain.
If one judges love by the majority of its effects, it is more like hatred than like friendship.
Logic will never change emotion or perception.
I just think I have too much anxiety to listen to music. Sometimes it feels like noise, and sometimes it's so affecting that I can't recover from it.
Whenever we experience an event, whether we're visiting the dentist or taking a dream vacation, our consciousness registers that experience internally on a spectrum with great pain at one end and extreme pleasure at the other. Once completed, the memory of that experience is tagged to either pain or pleasure, and it continues to exist in our bodymind.
I want to be engaged and moved by theatre, there's nothing more disappointing than being left cold. After 'The Author,' I felt wrung out emotionally, like a used tissue.
The emotions - love, mirth, the heroic, wonder, tranquility, fear, anger, sorrow, disgust - are in the audience.
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.
When you describe the miserable and unfortunate, and want to make the reader feel pity, try to be somewhat colder - that seems to give a kind of background to another's grief, against which it stands out more clearly. Whereas in your story the characters cry and you sigh. Yes, be more cold. ... The more objective you are, the stronger will be the impression you make.
Tout notre raisonnement se re duit a' ce der au sentiment. All our reasoning comes down to surrendering to feeling.
What are emotions exactly?' Lutta asked. 'Silly feelings that get in the way of actions.
I don't want people to sit there and objectively watch the film. I want them to experience it as something that's under their skin, so you try to make the films really tactile.
A well-composed song strikes the mind and softens the feelings, and produces a greater effect than a moral work, which convinces our reason, but does not warm our feelings, nor effect the slightest alteration in our habits
I really put a lot of and emotion into my project in order to evoke emotion.
