I have this big, old, oversize Levi's denim jacket, and I honestly think it might be for a dude. And on the back, it says, 'Catch feelings, not waves,' which I love because I'm very emotional.
Nobody wants to rock their own life. But, on the other hand, when your life does get rocked, it affords you a certain level of emotional honesty. It liberates you to be who you really are.
The British feel of blues has been hard, rather than emotional. Far too much emphasis on 12 bar, too little attention to words, far too little originality.
I used to go to my kids' soccer games and I was the only parent who wasn't screaming, because I'd have to do a show that night. It was hard. Moms and dads get more emotional at those soccer and Little League games than at a professional game.
Musicians are there in front of you, and the spectators sense their tension, which is not the case when you're listening to a record. Your attention is more relaxed. The emotional aspect is more important in live music.
Sometimes I get emotional when I'm doing 'Lonesome Valley' or 'Wildwood Rose.'
In America, it stands out, because it's raw, it's big, it's emotional. My face is raw, big and emotional. It didn't work for the longest time.
Some Lynyrd Skynyrd songs are literally the backdrop of America. Songs like 'Simple Man' and 'Free Bird' and 'Alabama.' I wasn't prepared for how emotional the crowd gets during the songs.
I feel like I really tapped into a pretty honest emotional place for myself as a lyricist. There's a broad spectrum of emotions.
Acting requires emotional flexibility and demands, and directing is more cerebral and managerial and a tactical kind of thing.
I would like to see a mandate for social and emotional learning absolutely mandated in every state.
Republicans: steely, rational, paternalistic, respectful of authority, easy to herd, the party of No. Democrats: sugary, emotional, idealistic, yearning for novelty, hard to marshal, the party of Oh Yeah, Baby, Make Mama Feel Good.
These people are amazing. It's so emotional I was thinking about wearing waterproof mascara.
The secret to 'Year One' is that it's a Jim Gordon story. It's a great Bruce Wayne story, don't get me wrong, but Jim Gordon is the focus of that book. To me, that's the stronger emotional arc. It's not that the Bruce Wayne stuff isn't masterful, because it is, but it's Jim's book.
Scotsmen are metaphisical and emotional, they are sceptical and mystical, they are romantic and ironic, they are cruel and tender, and full of mirth and despair.
There is no such thing as emotional incompatibility. There are only misunderstandings and mistakes which can easily be set right if we have the will to do so.
I was emotional. I wanted to be taken seriously. I was pretty emo. I was reciting Shakespeare monologues when I was 10. I still know the whole 'To be, or not to be...' monologue, because I knew it when I was 10.
One lesson I learned from 'The Monstrumologist' was never to get too attached to your own characters. That's harder in practice than in theory. At the end of the third book - which coincided with the end of my contract - I was an emotional wreck. I mourned Will Henry and Warthrop.
It's like trying to be a traffic cop and write a poem at the same time. You need an executive head to handle all the vast paraphernalia of moviemaking. You need another, more sensitive head to get the delicate human emotional values you are trying to put on film.
My dad was very influential with the music he exposed me to. He was really into blues and folk, so he'd play me guys like Muddy Waters and T-Bone Walker and Richie Havens - a lot of very emotional players.
