True Emotion Quotes

I don't feel comfortable making empty music.

Never lose yourself on the stage. Always act in your own person, as an artist. The moment you lose yourself on the stage marks the departure from truly living your part and the beginning of exaggerated false acting. Therefore, no matter how much you act, how many parts you take, you should never allow yourself any exception to the rule of using your own feelings. To break that rule is the equivalent of killing the person you are portraying, because you deprive him of a palpitating, living, human soul, which is the real source of life for a part.

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.

But it had no doubt sprung from true emotion, for all that parents ever wanted, really, was for you to love their child the way they did.

It's easy to fool the eye but it's hard to fool the heart.

What I don't believe is that DVDs or HD broadcasts can be a substitute for the real thing.

Peter would think her sentimental. So she was. For she had come to feel that it was the only thing worth saying – what one felt. Cleverness was silly. One must say simply what one felt.

What I say is from my heart. You must be sincere. So when I sing a song, people are supposed to feel it.

The office of poetry is not to make us think accurately, but feel truly.

Having an authentic emotional response is always a positive thing.

Anything I sing is supposed to be genuine. It's not supposed to be make-believe or I'm making something for the crowd to jump or to hold up their hands.

I can't write a lie; the world of imagination is no good. I objectively capture my own experiences and those of my friends. I want to put true feelings into words. If I make a song when I'm sad, it's a dark one, but I think that's good. No matter when I want to be true to myself.

An actress must be a woman whose emotional perceptions are true, and to make them so, she must have a fine contempt for any art or thought that betrays them for something false.

They ended every speech with the word hiro, which means: like I said. Thus each man took responsibility for intruding into the inarticulate murmur of the spheres. To hiro they added the word koue, a cry of joy or distress, according to whether it was sung or howled. Thus they essayed to piece the mysterious curtain which hangs between all talking men: at the end of every utterance a man stepped back, so to speak, and attempted to interpret his words to the listener, attempted to subvert the beguiling intellect with the noise of true emotion.

Patch? Whatever happens, I love you." I wanted to say more, those three words painfully inadequate for the way I felt about him. And at the same time, so simple and accurate, nothing else would do.

Love may not lead where we think or hope, but regardless of outcome it should be a call to seriousness and truth. If it is not that - if it is not moral in its effect - then love is no more than an exaggerated form of pleasure.

For me, I can only do that from my own experience with people I've known and things that I've lived and experienced. That's what good pop music is all about, pop music that does reach out to people. It's very personalized and very real, honest and sincere.

There is no overacting, only untrue acting.

I asked an 85 year old professor, 'What makes you cry?' He said, 'Whenever I see or hear the truth.'

As an actor, there's no faking it.

The Method helps actors connect in a way that is deeper and more real. So they use themselves instead of playing an idea of the character. It's more emotionally true when it comes from them.

There's still a feeling that uncensored emotions make a good song. They don't. Pure emotion is just somebody screaming at you, or crying. It doesn't communicate anything. It has to be mediated with some skill and craft, in order to communicate it to a second, a third, or a fourth person. That doesn't make it any less real. And it doesn't make it any less true. But it does mean that, yeah, it's the combination that makes it work.

The hardest thing to get is true emotion. I always believe you need to earn that with the audience. You can't just tell them, 'Ok, be sad now.'

Seems," madam? Nay, it is; I know not "seems." 'Tis not alone my inky cloak, good mother, Nor customary suits of solemn black, Nor windy suspiration of forced breath, No, nor the fruitful river in the eye, Nor the dejected 'havior of the visage, Together with all forms, moods, shapes of grief, That can denote me truly: these indeed seem, For they are actions that a man might play: But I have that within which passeth show; These but the trappings and the suits of woe.

You just have to make sure you're writing about something that's true. It has to be honest and it has to have a real emotion behind it, regardless of where it's coming from.