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.
BEN KINGSLEYI think that most actors attempt to keep in touch with the child.
More Ben Kingsley Quotes
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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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I think I’m more bonded, emotionally and in a craft sense, to films that tell extraordinary stories about extraordinary destinies.
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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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I never read anything in print about me. It started with not reading reviews and with the greatest respect to my publicist here, I never read interviews. I was there when I gave them. I never read reviews. I was there when I did the jobs – so I’m totally immune. I live in a bubble.
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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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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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When you drop your guard in films, the acting process compensates. You get lazy and you start acting.
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Working in film, if you work with great directors, you learn that after every take you must let go. Sitting with my wife at the Academy Awards, we both let the moment just go.
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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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All the great writers root their characters in true human behaviour.
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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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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.
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I’m so dependent on reacting to the other actors on the set, and to the director. I’m very responsive. I react. And I treasure the energy that reaction gives.
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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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I didn’t go to drama school because, from the first refusal I then, as I said, a couple of weeks later, was offered a professional job, where I am immensely grateful to the journey.
BEN KINGSLEY