That hunger of the flesh, that longing for ease, that terror of incarceration, that insistence on tribal honour being obeyed: all of that exists, and it exists everywhere.
BEN KINGSLEYShock is shock. Your body goes into shock, regardless of it being real blood or fake blood. The mind sends powerful messages to all the various glands and secretions in the body. It’s impossible trying to act it; it just happens. It’s a very important question: no acting.
More Ben Kingsley Quotes
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There was one titanic guiding light on the film set, and I was in the presence of a true Mahatma, in the deepest and most profound sense of the word.
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The hierarchy of class in London was rigid. It was like a religion. It still is to a certain extent.
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What is chess, do you think? Those who play for fun or not at all dismiss it as a game. The ones who devote their lives to it for the most part insist that it’s a science. It’s neither. Bobby Fischer got underneath it like no one before and found at its center, art.
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There’s so much crap talked about acting.
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Movie magic is movie magic and acting magic is acting magic.
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I’ve met quite a number of people in my career, but I do have an extraordinary memory. And even though they may drift into the periphery of my memory, I can bring them right back when I need them.
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As an actor there’s no autonomy, unless you’re prepared to risk the possibility of starving.
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In order to inhabit a villain, you mustn’t care what the audience think of you. That’s not why you are there. You mustn’t care for a second whether the audience likes you or dislikes you. Your villain has to be way beyond that.
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I’ve never had to turn my hand to anything for monetary gain, other than pretending to be somebody else. I’m deeply fortunate.
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The trick is to try and justify every word on the page and make sure my character is the man who would say that.
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If it’s a really well written villain, he probably has more layers than the archetypal good person. So that would be very attractive to an actor. No one chooses to be a villain; it’s usually a reaction to something else.
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The number of choices you make in the event that you see on stage, those choices are sometimes largely determined by the rehearsal process and the experiments that you go through and the choices that you make in the rehearsal room, not in front of an audience.
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I’m open to any project, but my joyful projects are those through which I can say something and through which I can speak to the an audience of people in the world, and I can be that vehicle through which something can be said, I find that entirely thrilling and joyful.
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I don’t want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away.
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When Attenborough asked me to do Gandhi it was almost like stepping off one boat and stepping on to another, even though both boats are going at 60 miles per hour.
BEN KINGSLEY






