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.
BEN KINGSLEYI have never felt bereft of anything.
More Ben Kingsley Quotes
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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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Millions of children are disempowered and we need to empower them.
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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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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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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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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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The biggest surprise in a man’s life is old age.
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I have never felt bereft of anything.
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They’re a very strange lot actors, very strange people.
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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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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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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’s so much crap talked about acting.
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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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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 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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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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I have a rather naive approach, I think, to my job.
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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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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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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’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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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 just loved playing a man who was unafraid of making an idiot of himself in the process of falling in love. I found that admirable.
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There is so much to do on a film set. It is an extraordinarily invigorating and wonderful place to be, when things are running well.
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The hierarchy of class in London was rigid. It was like a religion. It still is to a certain extent.
BEN KINGSLEY