A lot of people get emotional in movies that are cartoons, but not in TV shows.
You have to find it in the moment, and that's one of the challenges of being an actor - especially a film actor - is that you have to maintain these heightened emotions for long periods of time. There's no trick to it. You just have to do.
Not all paintings are abstract; they're not all Jackson Pollock. There's value in a photograph of a man alone on a boat at sea, and there is value in painting of a man alone on a boat at sea. In the painting, the painting has more freedom to express an idea, more latitude in being able to elicit certain emotion.
If you catch me coming out of a film, when I'm emotionally involved, I can tell you at that moment why I like it - but to talk about it years later is not logical to me.
My first March for Life was in 2010, three months after I left my job in the abortion industry as clinic director at a Planned Parenthood in Texas. It was intensely emotional, shocking in many ways, especially the outright love I saw in the faces of people who I once considered enemies.
Planned Parenthood is a tough place to work - the hours are long, the work is emotionally draining, the paperwork is endless, and the morale can run low.
Abortion, more than not, leaves women with an aftermath of grief, guilt, and emotional overload. In a lot of cases, this can last a lifetime.
2014 was physically a tough year because I injured my knee, and you know how that goes with your emotions and the mentality.
I'll be honest. After I got married, I definitely had a shift in emotional devotion.
No matter what's happening in the Middle East - the Arab Spring, et cetera, the economic challenges, high rates of unemployment - the emotional, critical issue is always the Israeli-Palestinian one.
