A Quote by Tobias Segal

With any character, you want the audience to at least empathize. — © Tobias Segal
With any character, you want the audience to at least empathize.
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.
It's very tricky to throw a morally flexible character onto the screen and have an audience empathize. It's always an exercise in restraint.
It's tough. It's very tricky to throw a morally flexible character onto the screen and have an audience empathize. It's always an exercise in restraint.
I want to be in control of drafting at least 80% the timing and cohesiveness of character and narrative. I want to be in control of giving you an experience, and want you to be acknowledged as an audience and can do things but only in a limited scope.
The audience has to understand that if the film is going to have any meaning for them. If they are going to empathize with the characters, they have to visualize the process of concentration involved in making every move.
I always want the audience to identify with my character in some way. I mean, sometimes you'll get characters that aren't very identifiable. Sometimes you can't relate to your character at all. I think it's important to keep the audience interested. But the best advice that I've gotten is to live in the moment.
I seek a diverse spectrum of roles. If I just was in a large-budget feature for a younger audience, then I want to find a smaller, more character-driven piece that might be for a more mature audience. Or if I'm playing a goofier character, then maybe I want to go play a serious, psychopathic character. But at the same time, it's usually a case-by-case basis where I'm judging the merit of a role by the script I'm given, and it usually has less to do with the larger framework and more to do with how the part personally appeals to me in that moment.
Within a single scene, it seems to be unwise to have access to the inner reflections of more than one character. The reader generally needs a single character as the means of perception, as the character to whom the events are happening, as the character with whom he is to empathize in order to have the events of the writing happen to him.
I like the opportunity to play characters who have these dark sides but make the audience empathize with them. You want them to think there is some kind of sweeter, softer side to it.
All I care about is that the audience should remember me for the character I play. I want to be part of content-driven films in any language.
Most actors will tell you this - I don't really know how to connect, empathize with, or make worthy of any revelation a character that doesn't have love in there somewhere, that doesn't have an idealism or an empathy in there somewhere.
It's interesting sometimes when an audience can empathize with a villain.
It's relatively easy to create an ambiguous character. Any conglomeration of likable and unlikeable traits, chosen at random, will result in an ambiguous character. Getting an audience to deeply identify with a character, on the other hand, is one of the hardest things in the world to do.
Any character can find an audience and work if you have passion for that character. You might have to just scrape off the dirt and the barnacles and pull it out and highlight it.
I love when there's an obstacle to overcome, even for the audience to actually empathize with that character. I find that interesting, and then, how to work around that and make them relatable. That's something that you have to dig into the moments and into the performances and see how to play those situations that make them relatable.
I love mythology and folklore, and I respect the time, money, and opportunity that a film gives to an audience. It's a chance to empathize, reflect, and learn, so I really want to understand before I sign onto a project: 'What's the potential of this thing? What are we seeing and learning? What are we empathizing to?'
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