Forest Whitaker

As human beings, we all have reasons for our behavior. There may be people who have certain physiological issues that dictate why they make certain choices. On the whole, though, I think we're dictated by our structure, our past, our environment, our culture. So once you understand the patterns that shape a person, how can you not find sympathy?

I think that cinema and the arts are central in our lives because we grow up and learn about the world through our exposure to stories. Parents use them as a tool to teach their children fundamental truths and values, much as adults can view them to gain exposure to cultures and individuals that they'd never be able to view in their own lives.

In some sense, when you take a child soldier out of an armed group, you've taken away the identity he or she has had for years, and you can't assume life is just going to return to normal.

Cinema and the arts invite viewers to focus on a story and, in doing so, peel away its layers and peer into the depths of the human soul.

I put down the camera long ago, you know? I was here in London, aged 19, and I was obsessed with my camera, shooting everything I could. Then someone stole it. It helped me to see things for the first time.

You try to pull away the experiences until you get to the core of humanity, and you find that light that exists in everybody. It's that light that I'm searching for in all of my work - is that connective thing, that ether that enters all of us - you know what I mean? That's a part of God.

For many child soldiers, war and violence are all they have ever known. If we don't take it upon ourselves to show them an alternative, then they're going to be soldiers forever, and they'll continue to be recruited and to participate in violence if another conflict starts five or 10 years down the road.

When children and youth are deprived of their right to education, their community is deprived of a sustainable future. It is all the more true with refugees.

Our leaders must hear us speaking on behalf of our brothers and sisters in South Sudan. If the moral duty to save lives and work toward peace is not compelling enough to drive decision-makers, we must remind them that we care and will hold them accountable.

Fame allows you a lot of opportunities to experience new things and connect with people. But on the other hand, people's perceptions of you can limit the scope of your relationships with them. You walk both lines.

I'd spend every summer in Longview on my grandfather's farm. It was a tiny little town divided by a river, which was the segregation line: that side white, this side black. And meanwhile, I lived in Compton - basically, another whole world sealed into 10 square blocks. It's interesting how insular an environment can be.

In a lot of films, they're showing more complete, developed characters of diverse ethnic backgrounds. The larger concern is to be able to tastefully explore the stereotypes, and still move past them to see the core of people.

My wife, Keisha, came home once, and I had these violinists playing for her, and I'd prepared dinner for her, and I write poems. She's pretty amazing, so I like to celebrate that. She's really taught me how to celebrate life; that's something I've learned.

I was in middle school right around the time the Bloods and the Crips started taking root in Compton and a lot of the other neighborhoods around me. I saw way too many of my peers - smart, kind, good kids - who got drawn into gangs and violence, and their futures were going to be forever scarred by that.

I'm fascinated by the capacity to be able to do harm. I struggle every day with the ability of people to do evil. Not just the big things - the petty things that people do in order to make someone feel small, when it's so easy to do, and it hurts so much.

I always try to remain aware that what affects others affects me, too.