As an actor there’s no autonomy, unless you’re prepared to risk the possibility of starving.
BEN KINGSLEYJohn Lennon and Ringo Starr liked my songs. I used to write songs and they heard me sing songs on stage in London.
More Ben Kingsley Quotes
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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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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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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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But comedy I’d love to do as much as humanly possible.
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I think that most actors attempt to keep in touch with the child.
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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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I hope I’m able to achieve more on camera through stillness, through focus, through being quite careful to do less on every take, rather than more. So I’m reducing, rather than adding. Which hopefully is a good exercise. That’s what I’d like to do.
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They’re a very strange lot actors, very strange people.
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You cannot learn a lesson of profound forgiveness unless you understand what it is to be wounded and forgive that which has wounded you.
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I honestly have no strategy whatsoever. I’m waiting for that script to pop through the letterbox and completely surprise me.
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In cinema, the leading player is the director.
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John Lennon and Ringo Starr liked my songs. I used to write songs and they heard me sing songs on stage in London.
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Well, it’s wonderful to be identified strongly with my work.
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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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There’s so much crap talked about acting.
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Movie magic is movie magic and acting magic is acting magic.
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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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I try and reduce myself to an almost blank slate and hope to God that I am creative.
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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’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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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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When you drop your guard in films, the acting process compensates. You get lazy and you start acting.
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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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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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The many many imponderables come together when a film opens and for all sorts of reasons it may or may not succeed.
BEN KINGSLEY