The amygdala in the emotional center sees and hears everything that occurs to us instantaneously and is the trigger point for the fight or flight response.
I used to say, 'Hey, man, what kind of a stupid question is that?' to a newspaperman asking me heavy things right after a race when I'm still in an emotional state. Now I at least try to answer.
Even if I'd had a really happy relationship with my father and there was no emotional hiatus for a decade and a half, I probably would still have made some of the same choices for movies that I've made.
I had been on what seemed to be a hiatus to the outside world, but I was actually working very hard on my health, my emotional health, and my business.
I'm entirely interested in people, and also other creatures and beings, but especially in people, and I tend to read them by emotional field more than anything. So I have a special interest in what they're thinking and who they are and who's hiding behind those eyes and how did he get there, and what's the story, really?
There is a certain highlighting of issues, be it emotional, be it social, or simply an entertainment one: they can be written or directed by a woman differently, with a different voice. I feel that their voice needs to be given more stage and more space.
I'll tell you, being involved in human space flight, it is an emotional endeavor. I think it brings in the highest highs and the lowest lows.
I'm a very honest person, and I'm quite emotional for a man. If I want to say something, I'll say it.
You know the first time I sat in the chair I felt anything but up, it was very emotional for me. I had a chair in my hotel room, a chair at rehearsal, and I was trying to spend as much time as I could in the chair.
What's exciting about theatre is observing human behaviour. You're constantly making judgments about body language, the physical, the emotional, the intellectual.
The human voice is the first and most natural musical instrument, also the most emotional.
If it's a very emotional scene, you're kind of relieved when you've done it, kind of spent. And there are times when you can be rattled, certain characters if they're hyper, that can carry over, the residue of that. But I try to leave it on the set.
I'm fascinated with acting now. In retrospect, I was only beginning to chip off the tip of the iceberg with how far I can go or what I was exploring inside of me that I hadn't touched in a while as far as emotional headspaces.
All my life, my immediate response to emotional pain has been to make jokes. Lots of jokes.
I can't speak for readers in general, but personally I like to read stories behind which there is some truth, something real and above all, something emotional. I don't like to read essays on literature; I don't like to read critical or rational or impersonal or cold disquisitions on subjects.
I sing against emotional dictatorships, and against the imposition of one person over another, in the name of love.
I get good references from a wide range of music. Something who's been a good influence in the last few years is Qawwali music. If you listen to a Qawwali singer like Aziz Mian - he's like James Brown. Qawwali is like Pakistani gospel-jazz. It's emotional, but it's also improvised, and it's all about that sacred-and-profane tightrope.
I always felt that, when I saw Denzel or Viola do scenes in their past films or past projects, that if it's a heavy scene, and it's requiring a lot of emotional weight, that we would have nothing but silence and incense burning in between takes just to keep things quiet.
We must have song and dance in our lives; we've had it ever since the inception of cinema in India. Our stories are very social-based, very human-based. We are a very emotional nation.
I am emotional, honest, and sensitive and a great human being because of my dad. Tough and independent woman because of my mom.
