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!
BEN KINGSLEYWorking 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.
More Ben Kingsley Quotes
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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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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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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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Shock 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.
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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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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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With narration, you have to be very accurate with your voice. It’s a good exercise to do.
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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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When you drop your guard in films, the acting process compensates. You get lazy and you start acting.
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I have a rather naive approach, I think, to my job.
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But comedy I’d love to do as much as humanly possible.
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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’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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There are some directors, lesser in confidence or skill, who make the actor feel very uncomfortable because you feel you’re auditioning for them, every day, and that’s a terrible feeling on the set.
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Millions of children are disempowered and we need to empower them.
BEN KINGSLEY







