Evoking Emotions Quotes

I feel I should try to reveal. When you hit it right, you produce an emotional response in the listener that can be cathartic. When you're wrong, you're soppy, sentimental.

For me, that emotional payoff is what it’s all about. I want you to laugh or cry when you read a story...or do both at the same time. I want your heart, in other words. If you want to learn something, go to school.

And there, row upon row, with the soft gleam of flowers opened at morning, with the light of this June sun glowing through a faint skin of dust, would stand the dandelion wine. Peer through it at the wintry day - the snow melted to grass, the trees were reinhabitated with bird, leaf, and blossoms like a continent of butterflies breathing on the wind. And peering through, color sky from iron to blue. Hold summer in your hand, pour summer in a glass, a tiny glass of course, the smallest tingling sip for children; change the season in your veins by raising glass to lip and tilting summer in

What shall I say about poetry? What shall I say about those clouds, or about the sky? Look; look at them; look at it! And nothing more. Don't you understand anything about poetry? Leave that to the critics and the professors. For neither you, nor I, nor any poet knows what poetry is.

I think any great song is difficult to write, in some aspect. It's just difficult to make somebody feel something. That is the main goal. How do you make somebody want to get up and dance? How do you make somebody feel okay after their breakup?

I felt so much when I was fifteen, sixteen, seventeen, I felt everything. I didn't understand [myself], I was so happy yet so angry and sad. That was the point when I realized that I needed to tell stories and make characters come alive and I needed to make people cry, and make people angry, and make people happy, and make them laugh.

When you have something that brings a real emotion, that's the power of cinema.

Imagine yourself in the scene. See what there is to be seen. Listen to the sounds. Touch the world. Smell the air. Taste it. Use all of your senses. Then evoke those experiences for the reader. If you give the audience the flavor, they'll flesh out the moment in their own imaginations.

IN CINEMA IT IS NECESSARY NOT TO EXPLAIN, BUT TO ACT UPON THE VIEWER'S FEELINGS, AND THE EMOTION WHICH IS AWOKEN IS WHAT PROVOKES THOUGHT.

There's a difference between describing and evoking something. You can describe something and be quite clinical about it. To evoke it, you call it up in the reader. That's what writers do when they're good.

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 try to write in a way that makes people feel things.

You must believe a poem is a holy thing, a good poem, that is.

I always say if music can't make you cry, you're a hopeless case. I don't cry very much myself, but it's my job to make you cry.

By its very looseness, by its way of evoking rather than defining, suggesting rather than saying, English is a magnificent vehicle for emotional poetry.

The reason I make music is to make people feel something, anything.

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?

My job is very simply that of a photojournalist. I want to stop people's eye on the page, I want to move the viewer to laughter, to sadness, sometimes to wince - not to impress other photographers.

It is also difficult to articulate the subtleties in cinema, because there aren't words or metaphors which describe many of the emotions you are attempting to evoke.

There's an old adage in writing: 'Don't tell, but show.' Writing is not psychology. We do not talk 'about' feelings. Instead the writer feels and through her words awakens those feelings in the reader. The writer takes the reader's hand and guides him through the valley of sorrow and joy without ever having to mention those words.

I like that you have four minutes to zero in on something and evoke a specific feeling and take people on some sort of journey.

As a professional wrestler in the position I am in, I would rather have people remember my matches for an emotion or for a certain thought it evoked when they saw it.

It's interesting, for me sappy means sentimental and something that gets you in your heart, gets you emotional. That's what I mean. Also, of course, it means that I'm slightly setting up the audience that there's a bit of fun involved, as well.

I try to bring the audience's own drama - tears and laughter they know about - to them.

It's easy to scare people. It's easy to shock them. But making people laugh and making them feel is a big challenge.