It is psychological law that whatever we desire to accomplish we must impress upon the subjective or subconscious mind.
There is a subconscious way of taking violence as a way of expression, as a normality, and it has a lot of effects in the youth in the way they absorb education and what they hope to get out of life.
I’m sure there’s a subconscious ‘go for it’ thing with turning 50. You want to do as much as possible and there are thoughts of how little time we have on the planet. For a lot of musicians in their 50s, the best days are behind them. I’d like to try and show that there is a future.
Some of my writing is very subconscious, and that’s definitely what happened with ‘Body Language’ – I looped some basic bossa nova sounds and just started singing.
That doomsday idea is in everybody’s subconscious.
Writing music – particularly music without lyrics – calls almost exclusively on the subconscious.
When I read a script or I see a character, I don’t necessarily see the arc of her, that by the end she is this person, she’s different from she was in the beginning. I guess it’s more a subconscious understanding of that arc.
I think about the characters I’ve created and then I sit down and start typing and see what they will do. There’s a lot of subconscious thought that goes on. It amazes me to find out, a few chapters later, why I put someone in a certain place when I did. It’s spooky.
I think about the characters I’ve created, and then I sit down and start typing and see what they will do. There’s a lot of subconscious thought that goes on. It amazes me to find out, a few chapters later, why I put someone in a certain place when I did.
Whatever you determine to be true in the subconscious becomes true for you.
Sadness has a horrible way of lingering in your subconscious.
When you go out onto the stage, all the preparation has to be forced into your subconscious. For the moment of the performance, we all have to return to a new level of unconsciousness. All the reflection and all the doubts have to be laid aside before you start.
I’m influenced by many things. Simply turning on the television, I feel inundated with images and messages to be a certain way. So I try to limit my influences by being aware of what I allow into my environment. I’m always conscious of what’s trying to creep into my subconscious.
Hollywood makes stuff that people absorb, and it lingers in your subconscious.
You get so tied up with the minutiae of the day-to-day, there’s never a chance to sit back and let your subconscious run wild.
I think I’m developing a kind of subconscious loathing of the word ‘franchise.’ I just think of something that’s packaged, something you can buy on a shelf and is immediately disposable. I don’t know. It’s a really weird word for me.
I think your subconscious knows far more than your conscious, so I trust it.
I get 0.5 seconds to react to a ball, sometimes even less than that. I can’t be thinking of what XYZ has said about me. I need to surrender myself to my natural instincts. My subconscious mind knows exactly what to do. It is trained to react. At home, my family doesn’t discuss media coverage.
Codes and signals are as important as explicit messages, and the two are linked. The bore pressing someone to tell them ‘where they’re really from’ will see themselves as different to the aggressive stranger barking at someone to ‘get back to their own country,’ but the subconscious, if not explicit, message is the same.
When I’m directing, I noticed I’m not using my subconscious at all. I’m literally using the whole front part of my brain all the time. When you walk on the set, every moment you have to be there because something’s going on that requires attention.
The initial motivation of the experiment which led to this discovery was a subconscious feeling for the inexhaustible wealth of nature, a wealth that goes far beyond the imagination of man.
Music can make the cerebral accessible, the subconscious hummable. It communicates our shared needs and desires as sentient beings better than any other medium.
In my subconscious, my books were part of a single emotional journey.
I don’t know how old my phone is, but it was only $10. It is a nice subconscious way of not having the Internet at your fingertips… e-mail, Twitter or Facebook.
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.
It’s hard to talk about childhood trauma. It’s hard to talk about depression. It’s hard to talk about anxiety. And we thought – I wonder if we just open up our subconscious and the things that we think about and hide from people every day and just let them come out in some of these lyrics.
Most of your problems stem from the ages of four to 10. So the idea in cognitive hypnotherapy is that you rewind all the way back to that key moment where the problem began. Your subconscious is only there to protect you.
I’m quite adept at writing two or sometimes even three stories at once. So if I get stuck on one story, I switch the next and let my subconscious work on unraveling any plot problems from another story.
When you trust your subconscious enough to put something in a story and then figure out why it really needed to be there later, when that works out, aye, that’s the stuff.
On some subconscious level, I’ve been prejudiced against turnips, parsnips, swedes and other roots. Do they taste of much? Are they really special? How wrong I was.
It feels like your subconscious can be way ahead of you, as a songwriter. You can write a song that you think is about one thing and months later you’re playing it and thinking, hang on, this is completely informing where I am now.
Your subconscious’s goal is to recreate unresolved childhood issues and then hopefully mend them.
There’s a lot of speculation on what the zombie apocalypse thing means. I have a feeling that it’s kind of an expression of our subconscious fears. I think we know that something big and impossible – some enormous crash, equalizing crash, whatever – may be coming around the corner.
You can do really slow movements with it, like zooming in for a minute and a half. The audience isn’t aware that the camera has moved, but there’s subconscious tension there.
Meditation, especially for people who don’t know very much about it and think it’s this very hippy dippy thing, can really be powerful, terrifying even, as it lifts the rug up on your subconscious and the dust comes flying out.
I would say runway is easier because your job is to look good or play a character that is just going somewhere. It’s rather physical, whereas acting is terrifying because you’re dealing with your subconscious, and those can be murky waters. But I definitely can say that I enjoy acting more as an artist.
Surrealism was necessary – essential, even – in the 1920s to bridge the gap between rationalism and the subconscious. It started something important. But by the early ’60s, it had become petit-bourgeois; it was too intellectual and romantic, and had ground to a halt. It had become respectable.
I’ve had 20 years, 25 years of running business. I’ve been well trained by a number of amazing organizations and I’ve got a lot of implicit, subconscious pattern recognition on how to make business decisions.
One thing that I think most people don’t notice is that if you’re sitting around telling yourself, ‘I want to be happier,’ there’s a kind of subconscious message that you’re also telling yourself at the same time, which is, ‘What I have is not enough.’
I truly believe the reason why there is a demand for rom-coms is because humans, whether its conscious or subconscious, have a need to feel happy and to see love.
When I sit down to make music, I try to enter a flow; I always open a blank session and just make something that I feel like making. Only after a piece of music is done does my frontal cortex allow me to organize what might be trying to come out of my subconscious.
My posture is changing constantly with different length clubs. I have to. Whether it’s subconscious or not I’m still changing. That’s going to put another variable. I said, ‘Why can’t we make the lengths all the same?’
To be an actor is to be ambiguous in every form, which is a very hard way to live. You represent desire: the desire of the director and the desire of the audience, even if it’s a subconscious desire. If a director is to work with you for two months, he must be in love with you in some way or another.
Ends and purposes, whether they exist as conscious or subconscious tendencies, form the wrap and woof of our conscious experience.
I always liked the idea in ‘Potter’ that you don’t choose the wand, the wand chooses you, and that relics decide when you’re ready to handle them. I’m a cinephile first and a filmmaker second, and it’s all swimming in the subconscious.
It sort of filtered into their subconscious through motion pictures, but it’s an historical secret. This – whatever this is – needs to be studied and, in a kind of definitive way, talked about.
When you write a story, it just flows and you don’t control it. It’s subconscious.
Imagination only comes when you privilege the subconscious, when you make delay and procrastination work for you.
