A Quote by Motti Lerner
Plays can create empathy. If you put a Muslim character on stage, and make him a full character, you're making it possible for the audience to feel empathy, and a little empathy on both sides would help.
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If you have empathy for both sides, then that's the same as having no empathy at all.
Empathy isn’t just listening, it’s asking the questions whose answers need to be listened to. Empathy requires inquiry as much as imagination. Empathy requires knowing you know nothing. Empathy means acknowledging a horizon of context that extends perpetually beyond what you can see.
I'm determined to disagree with people without being disagreeable. That's part of the empathy. Empathy doesn't just extend to cute little kids. You have to have empathy when you're talking to some guy who doesn't like black people.
Something as important and central and encompassing as empathy can't be all bad. I think empathy plays a role in intimate relationships, where you might want your partner not just to care about you or understand you but to feel what you feel.
Empathy is cloaked in our actions - as in, we might be experiencing empathy but not realize it's empathy.
Machines are becoming devastatingly capable of things like killing. Those machines have no place for empathy. There's billions of dollars being spent on that. Character robotics could plant the seed for robots that actually have empathy.
Empathy occurs when we suspend our single-minded focus of attention and instead adopt a double-minded foucus of attention. When our attention lapses into single focus, empathy has been turned off. When we shift our attention to dual focus empathy has been turned on. Empathy is our ability to identify what someone else is thinking or feeling and to respond to there thought or feelings with an approriate emotion. Empathy makes the other person feel valued, enabling them to feel that their thoughts and feelings have been heard.
If you're going to make a movie about a character who is a supervillain, it's fantastic to have a core sense of empathy for that character.
It's - you know, acting's all about relatability and finding empathy for a character, which is essentially, kind of, you're finding empathy with a part of yourself, which is a part of a character that was written by someone else, which was essentially kind of a part of them as well because it was a voice in their head they wrote down.
It is notable how little empathy is cultivated or valued in our society. I put this down to our traditional racism and obsessive sectarianism. Even so, one would think that we would be encouraged to project ourselves into the character of someone of a different race or class, if only to be able to control him. But no effort is made.
When you create those characters that people love and care about and put them in a dark hallway, already the audience is on edge, and they feel empathy for that character. Then it's up to me to decide what jumps out in that hallway. So I think laying that foundation of strong characters and strong story is the most important thing in a horror film.
...these stories are a kind of beacon. By making stories full of empathy and amusement and the sheer pleasure of discovering the world, these writers reassert the fact that we live in a world where joy and empathy and pleasure are all around us, there for the noticing.
Some people think that without that spark of empathy we would do nothing, but that's just flat-out wrong. You could feel compassion for somebody without the spark of empathy.
We need empathy to give empathy. When we sense ourselves being defensive or unable to empathize, we need to (a) stop, breathe, give ourselves empathy, (b) scream nonviolently, or (c) take time out.
With every character, the first thing I want to feel is empathy.
I think the only productive way to approach characters, and frankly people in life, is through empathy. The minute we call someone a villain, we are choosing to part with empathy and that can be a slippery slope, both as an actor and a human being.
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