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.
BEN KINGSLEYI 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.
More Ben Kingsley Quotes
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There’s so much crap talked about acting.
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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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I have a rather naive approach, I think, to my job.
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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 was fortunate as a young actor, to go straight to the RSC, where I learned that being an actor can bring with it wonderful responsibilities.
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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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I’m very in love with the fact that the camera is revolted by acting and loves behaviour.
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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 told myself that I would not go back to the camps as an actor ever again, that I was very frightened of wearing a yellow star. It was fear, it was cowardice, I was.
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Family is family over the internet, over Skype, over the telephone. Love is love. You don’t have to actually go through some ritual to prove that you love somebody.
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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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You want to know what I want? I’ll tell you what I want. I want back what Bobby Fischer took with him when he disappeared.
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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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I’m convinced that had I not changed my name, I don’t think I would have had quite the same career curve that I eventually had.
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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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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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You don’t go to a town to present the play and have applause at the end of it, but that’s benign conquest. It’s a glorious way of exploring other landscapes and other cultures in a very life-affirming way.
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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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When I choose a role it’s either because I recognise the man, or that I’m very curious to know him. If I neither recognise nor know him, then it is better that I don’t play him.
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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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Millions of children are disempowered and we need to empower them.
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If the director wishes to print it, then you have a series of choices, maybe millions of choices within that minute-and-a-half, or 80 seconds, or 2 minutes or however long or short the take is, you have all those choices committed to celluloid. I find that absolutely thrilling.
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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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It is better for me to serve a charity as an actor or a voice, rather than at a luncheon being just a celebrity.
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Well, it’s wonderful to be identified strongly with my work.
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I think that all of us either lose touch with the child inside us or try and hold onto it because it so precious to us and it’s such an extraordinary part of our lives.
BEN KINGSLEY