Emotional Continuity Quotes

The life of a character doesn't just exist between action and cut.

Believe me, I feel the same way now about snooker as I did when I was 13.

I don't know that many chords. I'd be loaded if I knew that many. But that's not my aim. My aim is to move from one vein to the other without any trouble. The biggest thing to me is keeping a feeling, regardless what you play. So many cats lose their feeling at various times, not through the whole tune, but at various times, and it causes them to have to build up and drop down, and you can feel it.

I never like to go out of character when filming starts. I fear that if I do, I might not be able to pick it up again.

Whenever you listen to a piece of music, what you are actually doing is hearing the latest sentence in a very long story you’ve been listening to - all the pieces of music you’ve ever heard.

It struck him as a bit unfair that, at the age of eight, he should have manifested the same sense of solitude that haunted him at forty-three.

A lot of the same joy and adrenaline rush that I felt after making a good play or winning in football I feel now after a successful surgery.

We get older, and we get more wrinkles, but fundamentally, we stay the same... You have the same fears and doubts and concerns and dreams and passions and all those kinds of things, so I feel like you don't change as much as you think you do.

I think what people watch television for is the emotional continuity, from episode to episode, and feeling that the experience that they had, four episodes ago, has actually been building to an episode that comes later, and knowing that the characters are growing, as a result of that, and making mistakes, is really, really important to the way people connect to television.

Theratre is not like like in film and TV, where you have to stop and go back and keep redoing the same three pages for two hours. You get to go through the whole 80 pages of the script, which is incredible. You get to keep acting on the feelings you had just moments before. You don't have to psych yourself up for the scene. You can just go off what you were already feeling.

Thought nourishes, sustains and gives continuity to fear and pleasure.

Any director, if you really ask them, will tell you that the toughest thing to do is like a dinner table or a dialogue scene, because you need to keep that electricity maintained throughout the course of the film.

When you love someone - when you create a child with him - you don't just suddenly lose that bond. Like any other energy, it can't be destroyed, just channeled into something else.

In terms of my relationships with a lot of the adult characters, when I was working with Harrison, it wasn't like a verbal agreement, but we both understood that because there was this constant tension between our characters, we couldn't say "Cut" and start acting normal. We had to keep an essence of that relationship in our characters off screen which is really important.

Why is one a slave to thought ? Why has thought become so important in all our lives -thought being ideas, being the response to the accumulated memories in the brain cells? Perhaps many of you have not even asked such a question before, or if you have you may have said, "it's of very little importance- what is important is emotion." But I don't see how you can separate the two. If thought does not give continuity to feeling, feeling dies very quickly. So why in our daily lives, in our grinding, boring, frightened lives, has thought taken on such inordinate importance?

The strange thing about seeing someone for first time in nine years is the way they look totally different, just for a second, a split second, and then they look at you the way they always have, as if no time has passed between you.

The affections are immortal! They are the sympathies which unite the ceaseless generations.

You get to keep acting on the feelings you had just moments before. You don't have to psych yourself up for the scene. You can just go off what you were already feeling.

I shaved my hairline back and dyed my hair and wore a little powder, a little paint, a fat suit, and I changed my voice, but the emotions were consistent with what the point of the scene [with Branch Rickey] was.

An acquaintance had become a lover, might become a husband, but would retain all that she had noted in the acquaintance; and love must confirm an old relation rather than reveal a new one.