You cannot learn a lesson of profound forgiveness unless you understand what it is to be wounded and forgive that which has wounded you.
BEN KINGSLEYWhen you drop your guard in films, the acting process compensates. You get lazy and you start acting.
More Ben Kingsley Quotes
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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 think the cinema you like has more to do with silence, and the theater you like has more to do with language.
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I think Romeo and Juliet is uplifting. That’s how much a son wishes to avenge his father. That is how much two young people can love each other.
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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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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 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.
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But filming is good for you, because the crew isn’t allowed to laugh. You can’t get addicted to getting the laugh.
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I think that most actors attempt to keep in touch with the child.
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It’s Sir Ben. I’ve not been a Mister for two years.
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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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The hierarchy of class in London was rigid. It was like a religion. It still is to a certain extent.
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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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With narration, you have to be very accurate with your voice. It’s a good exercise to do.
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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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When you drop your guard in films, the acting process compensates. You get lazy and you start acting.
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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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Sometimes it’s right to do the wrong things and right now is one of those times.
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I have never felt bereft of anything.
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One of the greatest things drama can do, at it’s best, is to redefine the words we use every day such as love, home, family, loyalty and envy. Tragedy need not be a downer.
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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 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 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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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.
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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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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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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.
BEN KINGSLEY