Geoffrey Rush Quotes

Sometimes, when you are not feeling really good is when you tend to write songs because you are internalising everything, and you are examining your thought process, and you are quieter and quite still, so it is when you write things down.

His cheek twitched. With Jeremy, this was the equivalent of an emotional outburst.

I don't enjoy hearing the sound of my voice. The most important things for me are impossible to articulate extemporaneously.

If you ask an introvert a question, wait until she thinks about it. Introverts think before speaking, not through speaking. If you want to get to the good stuff, you need to slow down.

It is less fun to talk about what I am feeling rather than what I am thinking. Saying 'I feel awesome' isn't really interesting or enquiring.

It is very difficult for people to come in contact with their own emotions and their own sensibilities.

The reason I write is that I'm not in dialogue with my emotions; writing puts me in touch with myself.

I try to write about internal experience versus the external self. I like to present ideas, but not package them neatly.

A solitary, unused to speaking of what he sees and feels, has mental experiences which are at once more intense and less articulate than those of a gregarious man.

My music is very personal. I've created it in solitude. I face a white wall and beller. I like that sound - the expression of loneliness. That's what it's all about.

Why e-mail a full emotional statement when, instead, you can text a totally insignificant and ambiguous half-considered phrase?

I write to feel alone.

When you eliminate all stimuli, your brain is like, 'Finally, we've got some space! I want to talk with you about something!'

Anytime people see an emotion that is not extremely emotional, they call it 'deadpan.'

'Sally' is just a song that I wrote talking to my alter ego. When I write, I don't really consciously say, 'This is what I've been going through in my life, and I'm gonna put this into words.' It's just a song that I kinda went in and did. Then, listening back to it, I realized, 'I'm talking to myself.'

In some ways I'm a reticent man, and for quite a number of years there wasn't very much of my real true deep feelings in my writing.

A lot of my music is just self-observation. Like telling you, "Oh man. What did I just do? How much did I just pay for this chain? Why did I do that? Wait a minute." Let me talk about that. Or like, the temptation. Let me talk about that. Let me observe myself.

It's odd how different a house feels when one is alone in it. It makes it easier to think rather private thoughts.

I feel like the older I get, the truer it feels that I'm only going have an investment in a poem if it allows or forces me to bring something that's supremely me onto the page. I used to think that the speaker of a poem was talking to someone else, to some ideal reader or listener, but now I think that speakers - poets - are talking to themselves. The poem allows you to pose questions that you have you ask of yourself knowing that they are unanswerable.

How dear to the mind of the sage are the thoughts that are bred in loneliness; for there is as it were music at his heart, and he talketh within him as with friends.

I don't think of my plays as steamy places where people display huge amounts of emotions. The feeling is underneath, which in my experience is where most feeling is. I don't myself spend my life shouting in rooms, and I don't really believe things in which people do spend their time in total hysteria.

Smiling is confusing, she thought. This is why I don’t do it.

Her eyes are homes of silent prayers.

She was not often invited to join in the conversation of the others, nor did she desire it. Her own thoughts and reflections were habitually her best companions.

When I’m alone in my room sometimes I stare at the wall, and in the back of my mind I hear my conscience call.