At one point, I wrote 20 jokes a day, and I had a commitment to send them to the same three people. Now, I just write down what my husband says in his sleep. He’s the funniest person, even unconscious.
We know that communication must be hampered, and its form largely determined, by the unconscious but inevitable influence of a transmitting mechanism, whether that be of a merely mechanical or of a physiological character.
My brother had fabulous children before I had children and for some reason I wanted to photograph them, and that was when I got my first camera. Children have something totally unconscious about them. That’s how I learned.
In all our perceptions, from vision to hearing, to the pictures we build of people’s character, our unconscious mind starts from whatever objective data is available to us – usually spotty – and helps to shape and construct the more complete picture we consciously perceive.
Modeling teaches you to be completely conscious of the camera. Acting is being totally unconscious of it.
I never felt like there was an unconscious part of me around that woke up or that came out of the closet; there wasn’t a struggle, there wasn’t an attempt to suppress.
The fans want to see more. They’re there to see fights, they want to see more, they want to see people get put unconscious, whatever. But you can’t get put in those spots.
A lot of time you write out of some unconscious place. I try to trust what is coming and where it wants to take me.
We are all at times unconscious prophets.
Of a truth, there is an inward, formless, inarticulate, almost unconscious, prayer, the very breath of love, whereby the soul is knit fast to the God whom it has tracked, amidst the tangled underwood of human life, to his covert on the eternal hills.
Art is a way of penetrating and going deep into our unconscious and creating amazing worlds – as the Greeks did, if you like, as did Ovid with his stories and his fantasies.
Mark this well, you proud men of action! you are, after all, nothing but unconscious instruments of the men of thought.
Sometimes we need pure relief. Sometimes we need pure escapism. Sometimes we need major reflection on some aspects of our collective unconscious.
The other thing in composition is opening up the unconscious.
The conscious purpose of science is control of Nature; its unconscious effect is disruption and chaos.
You have to draw on your unconscious when you make a film – you can’t worry about whether it’s costing a lot of money.
The thing that I was brought up to prize above everything else is the intellect. There is no problem that the intellect cannot solve, but it never had an original thought. Originality is the realm of the unconscious.
I don’t think there is any kind of magic about what I do. All of the connections are there, somewhere in the subconscious or in the collective unconscious. If I let the elements speak to each other, then these coincidences will happen. And they do happen. They happen all the time.
I’ve never seen a truly great fighter get knocked onto the ropes unconscious… knocked out cold before… and I saw Roy Jones get knocked out twice in a row.
The un-conscious distortion of the facts is almost harmless compared to the unconscious neglect of an animal’s mental life until it verges on the unusual and marvelous.
I’ve always been interested in the intersection between our rational and our unconscious lives.
The point of psychoanalysis is to really understand the roots of your behavior. Understand why you are doing the things you’re doing – and connect your unconscious to your conscious.
I am an artist, you understand? For me, a picture is like poetry. When you make art, this is not coming from an intellectual place. It’s coming from the deep side of your unconscious, your soul.
Real obsession needs an unconscious motivation behind it.
I have an unconscious burglar living in my mind: If I read something, it’s mine.
How art works is really interesting. It comes from our unconscious, a lot of it. And were communicating in ways were not completely aware of when were making it.
Occasionally if I look back at something I’ve written I’ll find one of those that I don’t understand, but that’s a bad thing – the unconscious has dealt me a bad hand.
I think I’m drawn to female characters partly because they don’t have as easy or as obvious a relationship to power in society, and so they suffer under social constraints or have to maneuver within them in ways men sometimes don’t or are unconscious about, or have certain liberties that are invisible to them.
The psychical, whatever its nature may be, is itself unconscious.
Every day I try to be in communication with the universe in an unconscious way.
The conscious mind determines the actions, the unconscious mind determines the reactions; and the reactions are just as important as the actions.
People often cover their mouths when lying. A hand on the mouth or even a touch of the lips shows you that they are lying because this unconscious body language represents a closing off of communication.
‘The Master and Margarita’ is deeply to do with the unconscious. It is a story about a man who writes a story in a time when he’s not supposed to write that story: the story of Pontius Pilate.
I think humans are fascinating in general. We’re so weird. We do so many quirky things, and we don’t even know it. There’s just so many layers upon layers of nuances in everything we do, and the most fun part as an actor is trying to get into all those nuances, whether they’re conscious or unconscious.
I have this habit to bow my head, as to look shorter, maybe as a result of an unconscious demand of not taking up so much space.
The multilevel, the conscious and the unconscious, is natural when I write scripts, when I come up with ideas and stories.
‘Subliminal’ is about how we misinterpret our behavior because we’re unaware of what our unconscious minds are doing.
Some people talk about children wanting to be born as though somewhere out there in the collective unconscious there’s a spirit, or a thought or an idea that wants to be born. And I sometimes feel that way about stories… that they’re there and they want to be told.
For someone who writes fiction, in order to activate the imagination and the unconscious, it’s essential to be free.
I’m just trying to make a smudge on the collective unconscious.
I’ve fallen down crevasses, been bitten by snakes, been knocked unconscious, had various limbs broken and once, a heavy camera came plunging down which very nearly decapitated me.
I have a deep, deep belief that if I tell you I’m going to crack you with a clean shot to the chin inside one minute of the first round and you will be unconscious, well, then that’s what will happen.
More and more, unsolicited gifts from without are likely to be received with unconscious resentment.
What works for me is simply to read a lot of stuff throughout the year – not with a particular story or theme in mind, but just because you never know what might be useful or interesting in the long run. I much prefer to just absorb a lot of stuff and let the old unconscious chew down on it over time.
I’m not religious. I’m not an atheist. Would I say I’m an agnostic? Possibly. But I would say the collective unconscious is something I’m much more interested in.
The difference between Socrates and Jesus? The great conscious and the immeasurably great unconscious.
Music is an art that expresses the inexpressible. It rises far above what words can mean or the intelligence define. Its domain is the imponderable and impalpable land of the unconscious.
It is inconceivable for our unconscious to imagine an actual ending of our own life here on Earth, and if this life of ours has to end, the ending is always attributed to a malicious intervention from the outside by someone else.
We don’t just borrow words; on occasion, English has pursued other languages down alleyways to beat them unconscious and rifle their pockets for new vocabulary.
I never know when somebody’s going to knock on the door of my own unconscious in a way that I wouldn’t have anticipated.
There are conscious reasons and unconscious reasons why I pick something. You know, I have to be moved by the story and usually that means it has to touch me in some kind of personal place.
I certainly think, obviously, rhythm is a huge part of being an actor. It just is unconscious, to a degree, but particularly in comedy, rhythm is pretty essential, and there’s probably something more physiological going on.
On the unconscious level, touch seems to impart a subliminal sense of caring and connection.
Laughter is a Trojan horse to enter into direct contact with the unconscious, strike the imagination, and trigger visceral reactions.
Whenever you try to pick market tops and bottoms, you are making a prediction. Guessing what stock is going to outperform the market is forecasting, as is selling a stock for no apparent reason. Indeed, nearly all capital decisions made by most people are unconscious predictions.
There is a calculus, it turns out, for mastering our subconscious urges. For companies like Target, the exhaustive rendering of our conscious and unconscious patterns into data sets and algorithms has revolutionized what they know about us and, therefore, how precisely they can sell.
