You need particular note or rhythm in the symphony to be that minor key, or that sharp key or major chord. In musical terms, I try to hit the right note. But not alter the score of the music, just emphasize the note correctly.
BEN KINGSLEYI try and reduce myself to an almost blank slate and hope to God that I am creative.
More Ben Kingsley Quotes
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I do remember, as a child, that I always imagined, when I was maybe 6 or 7, my fantasy was that everywhere I went I was being followed by an invisible film crew.
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The camera does not like acting. The camera is only interested in filming behaviour. So you damn well learn your lines until you know them inside out, while standing on your head!
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I do believe female directors, as well as our female writer, can bring out male vulnerability that some men can’t because they can’t face it.
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Hopefully, as I get older in the business, I make my choices more accurately, and I perhaps know from either the script or the first meeting that it isn’t going to work.
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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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I’m very in love with the fact that the camera is revolted by acting and loves behaviour.
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My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.
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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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We are adjusters. We empathize, we change rhythm and above all we listen to our fellow actors-if they’re good actors.
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If I were to play somebody who ran a fish and chip shop, I would not work in a fish and chip shop for three months. Staring at chips is not going to help me in my performance.
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Filming is so much to do with rhythm, as is music, and if it isn’t there then you know in the end nobody can save it really, they can’t.
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I think that various styles and methods and approaches are an invention of people who don’t understand the process of acting and who try very hard to label things.
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There is always something about the villains that I’m able to play, quote unquote, that isn’t villainous.
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I think Romeo and Juliet is uplifting. That’s how much a son wishes to avenge his father. That is how much two young people can love each other.
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The many many imponderables come together when a film opens and for all sorts of reasons it may or may not succeed.
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It’s Sir Ben. I’ve not been a Mister for two years.
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Well, it’s wonderful to be identified strongly with my work.
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Fifteen years before I became a screen actor, I was in the theatre. A lot of my work was comedy, which I loved doing. It’s harder.
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Equal partners aren’t always what we envision as being manifestly equal. Equality can come in many different shapes and sizes and combinations.
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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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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.
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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 think if I were to go back on stage I might be in great danger of acting.
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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.
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They’re a very strange lot actors, very strange people.
BEN KINGSLEY