A Quote by Randy Harrison
I could definitely empathize with the character, with the feelings of helplessness - if only the desperation and the feeling of isolation.
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If you have a character that seems to be all perfect, it's hard to relate to him because when you read a story you really want to empathize with the character that you are reading about. And it's hard to empathize with someone who is flawless and who has no problems.
I feel ever so strongly that an artist must be nourished by his passions and his despairs. These things alter an artist whether for the good or the better or the worse. It must alter him. The feelings of desperation and unhappiness are more useful to an artist than the feeling of contentment, because desperation and unhappiness stretch your whole sensibility.
I choose to rise up out of that storm and see that in moments of desperation, fear, and helplessness, each of us can be a rainbow of hope, doing what we can to extend ourselves in kindness and grace to one another. And I know for sure that there is no them - there's only us.
People often expect the other person to respond first in a positive way, instead of taking the initiative to create that possibility. I feel that's wrong; it can act as a barrier that just promotes a feeling of isolation from others. To overcome feelings of isolation and loneliness, your underlying attitude makes a tremendous difference - approaching others with the thought of compassion in your mind is the best way.
You are innately designed to use your personal power. When you don't, you experience a sense of helplessness, paralysis, and depression-which is your clue that something is not working as it could. You, like all of us, deserve everything that is wonderful and exciting in life. And those feelings emerge only when you get in touch with your powerful self.
I used to live in a little city by the sea, and the feeling of isolation - it was not like living in Paris or London. It was a bit apart from the main city, and [it gave me] this feeling of isolation and also being close to nature, with nature as a surrounding and also a frontier, from the society of the world.
In the range of my character at any given moment, I have acted in the only way it seemed to me I could have acted. This in no way means that I have done what was right; only what was possible for me. Sometimes I have done what I knew was wrong, and have rationalized. But rationalization is a form of desperation. It takes kindness to forgive oneself for one's life.
Your situation and prospects only seem hopeless because you have ideas of hope. Knock off that hope and the crippling feelings of helplessness go with it.
I have to learn to ignore my feelings. Not just the feeling of hunger and the feeling of full, but the feeling of embarrassment, too. I have to remember that this is only weird if I make it weird.
If you give a discount there's a desperation there and I like to substitute desperation with service and real quality. And the desperation goes away.
My children's favorite, and it's funny because they've seen it but they have a difficult time watching it because it's their dad and they make that connection, but Edward Scissorhands is by far my kids' favorite. They just connect with the character, and they see their dad feeling that isolation, that loneliness. He's a tragic character, so I think it's hard for them. They bawl.
Feelings follow actions. If I'm feeling low, I deliberately act cheery, and I find myself actually feeling happier. If I'm feeling angry at someone, I do something thoughtful for her and my feelings toward her soften. This strategy is uncannily effective.
Feeling good and feeling bad are not necessarily opposites. Both at least involve feelings. Any feeling is a reminder of life. The worst 'feeling' evidently is non-feeling.
Music expresses feeling, that is to say, gives shape and habitation to feeling, not in space but in time. To the extent that music has a history that is more than a history of its formal evolution, our feelings must have a history too. Perhaps certain qualities of feeling that found expression in music can be recorded by being notated on paper, have become so remote that we can no longer inhabit them as feelings, can get a grasp of them only after long training in the history and philosophy of music, the philosophical history of music, the history of music as a history of the feeling soul.
When I tried to imagine being beautiful, I could only imagine living without the perpetual fear of being alone, without the great burden of isolation, which is what feeling ugly felt like.
And the boys were all clean, their faces freshly and brutally shaved, their hair painstakingly gelled into exquisite apparent carelessness, with this electric feeling inside of them, which matched the feelings in the girls, that they were all ascending, moving into a future that could only improve them, and I wondered what it was like - the miracle, the stupidity of feeling that.
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