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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.

Ben Kingsley

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Ben Kingsley
Age: 80
Born: 1943
Born: December 31
Actor
Character Actor
Film Actor
Stage Actor
Television Actor
Snainton
North Yorkshire
Krishna Pandit Bhanji
Rhythm
Save
Nobody
Ends
Music
Much
Really
Filming

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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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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 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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I think that you can fall into bad habits with comedy... It's a tightrope to stay true to the character, true to the irony, and allow the irony to happen.
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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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In cinema, the leading player is the director.
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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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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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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 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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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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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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Well, it's wonderful to be identified strongly with my work.
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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 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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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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They're a very strange lot actors, very strange people.
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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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As an actor there's no autonomy, unless you're prepared to risk the possibility of starving.
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