The movement of the shapes reflects how our emotions vary in strength and frequency in peoples lives. Each emotion names a number of related but different states. These states vary not only in their nature, but in their intensity. Each emotional state typically results in a number of actions. Click on a state to see the constructive and destructive actions that can result. Moods are longer-lasting cousins of an emotion that cause the related emotion to be felt more frequently and intensely.
It is not always apparent what triggers a mood. Calm is a state of mind that is actively engaged in using intelligence and wisdom to evaulate the changing world. Paul Ekman is an American psychologist who is a pioneer in the study of emotions and their relation to facial expressions. He has gained a reputation as "the best human lie detector in the world". This project was generously supported by the Dalai Lama Trust. To give back, and to help bring more emotion awareness to the world, consider donating here. Here are some of the publications that guided us, or that you might be interested in seeking out to learn more.
Each emotion has a corresponding personality trait that represents a longer term manifestation of an emotion. Each emotion relates to distinct psychopathologies, which describe a persistent behavior that interferes with one's ability to function. Half or less than half of emotion scientists believe there is convincing evidence that each of the following is an emotion.
The Emotions Atlas is based on the consensus among scientists in the choice of the five emotion continents and the relationship of emotions to moods, personality and psychopathology , the work of a few scientists who focused on the naming of states within emotions, dictionary definitions in the glossary, and theory or best guesses about the actions for each state and whether they are constructive or destructive.
Here are some ways to counteract emotional states. Impediments apply to blocking a positive emotion, antidotes apply to reversing negative ones. But we see in the film that for him the music is the opposite of an imperative; he connects to jazz in a very organic way and it feels freeing. And also, honestly I like just those things that stick in your head. I thought that seems like Lionel.
Daniel Morgan Graduate School of National Security
You decided to change the setting to 40 years earlier than the era of the book. But film is very literal, and I said to Jonathan that I was worried about it feeling tongue-in-cheek. I'm not a big fan of what I call air quotes in film.
I like "LA Confidential" and " Chinatown " and "The Big Sleep" and any film that in looking at the period just takes it very seriously, plays it very straight. I felt that it would diminish the emotional potential in Lionel's isolation if you put it in the modern world. But that creates a real headache for you as a director and producer, re-creating the era.
We did like a treasure hunt in the city for the places where with minimal manipulation you are right in there.
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New York City's an incredible three-dimensional maze of old and new. Was there a particular period detail that was essential for you, or one that was particularly hard to get right? Cars are a nightmare. And by that I mean if you're going to throw a bunch of them around in a car chase, the problem is that none of them work, and so you have to have three or four identicals of anything that you need to work in a given moment because they will break down and that's tricky. Probably the two things that were rough or bold on the budget we had were doing a big Hitchcock-style fight on a fire escape, and knowing that you have to build that whole exterior wall of an apartment building, you have to put a fire escape on it; so you put cranes there and you have to have green screen all around it and you have to end up making it look real and good.
The old Penn Station -- lot of people at a certain point were looking at me like, "Can't this scene happen in a bus station? You lose entire neighborhoods and stable communities because no one's looking out for them and no one is standing up. You also lose literally the gateway to your city. One scuttles in now like a rat.
You look at the way the French just reacted to the Notre Dame burning. Those are our Notre Dames. But you didn't put it in good vs. There are millions of movies with the developer as the bad guy; you didn't do that here. It was so dynamic. It also was so incredibly sophisticated for this very young filmmaker at the time. It was like it took on things that nobody talked about, let alone in a film, and it didn't answer the question. It clearly set up this whole dialogue and then at the end it put up a quote from Martin Luther King that said like, essentially violence is not a response that will create a progress, and then Malcolm X saying sometimes violence is the only rational answer, and then picture of the two of them together and fade out.
Basically it was like, "Oh my God, he just literally said over to you. That's like a film is seeking an activated audience, as opposed to giving them a Xanax.
I think that's the just the most fantastic thing. If I didn't think you could do that I would do something else.