You have to take strength from the people that love you and the people that love Barbara and the huge number of expressions of sympathy and compassion and support. That has been extremely moving.
One of the pillars of 'Cyrano' is recreating a love story and, like any archetype, these great stories tend to be captivating, among other things, because they are made of those universal things that move us.
Anybody who travels knows that you're not really doing so in order to move around - you're traveling in order to be moved. And really what you're seeing is not just the Grand Canyon or the Great Wall but some moods or intimations or places inside yourself that you never ordinarily see when you're sleepwalking through your daily life.
When the object that is produced, the photographic image has the ability to make tears come to your eyes; to inspire you to the point where you have to catch your breath, then nothing else matters.
I think the main objective is to move people, make people think in their heart. I personally am not interested in appealing to other musicians. To me, it's more inspiring to move someone who doesn't know anything about music but has a feel.
When I read the script for 'War Horse,' I was in absolute tatters.
You want people to feel something when you tell a story, whether they feel happy or whether they feel sad.
Looking at fires when high, by the way, especially through one of those prism kaleidoscopes which image their surroundings, is an extraordinarily moving and beautiful experience.
I don't want people to look back at my matches and say, 'When you did that move, it was good, and I liked it because it was cool.' I want people to sort of remember a rush of images and the emotion that they felt when they saw it. That's when I think you have a real masterpiece in your hands.
I'm at an age where crying is easier for me now. I like it. I can cry at a poignant commercial; I can cry at a - this is a running joke in my house, but... a good 'Star-Spangled Banner' can make me cry. I'm not kidding.
Even if somebody wanted to tell me what one of my songs meant to him or her, I can't do it - I would be probably put to tears every time.
I really want it to have an impact on the world. I want to be in a town on the other side of the world, and somebody walks up and says, 'That music you made in Glasgow, I listened to it every day, and it moved me.'
If you're doing a musical, you should be out to give the audience something special, emotional, an uplifting feeling, something that stays with them. And you're not going to do that by bumming them out.
I recorded the song live in front of an orchestra, and yes, I was very moved, I was in tears.
If art doesn't move people, then art has failed.
My approach to selecting a film is very simple - it should touch my heart.
In the finished article, the only thing that is important is whether it moves you or not. There is nothing else that is important at all.
When I hear the bagpipes, it makes the hairs on my neck stand on end. It always makes me weep.
People don't remember me for how high my legs went, even though they went up very high, and how many pirouettes I did. They don't remember me for that. They remember me and any other dancer because something touched them inside. It's an indelible memory on the heart and in the mind.
'Short Term 12' was such a marathon. It's like trying to convey the same emotional depth as 'The Gambler' but with less time and a fingernail's worth of the budget.
When I go to a live show, I want to be moved. That's why you do it. And it's not very often that a band will move you live.
I went to see Oliver Stone's 'Heaven & Earth,' which I thought was a wonderful movie, but I walked out because I was so moved. It was too painful to watch.
Music that comes from the heart - that's the music that moves me.
Some movies are the kind you take home with you at the end of the day, and some, you can let go.
It doesn't matter what age you are, an effective song will move you.
