Quote

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.

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
Three
Fish
Play
Fishes
Going
Performance
Chip
Work
Performances
Chips
Would
Months
Shop
Somebody
Ran
Help
Shops
Helping
Staring

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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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They're a very strange lot actors, very strange people.
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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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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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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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In England, it's now Sir Ben. Mister has just disappeared. It's not even on my passport anymore. They've taken Mister away from me.
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I have a rather naive approach, I think, to my job.
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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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Well, it's wonderful to be identified strongly with my work.
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I don't do anything that would ever come across as advice or suggestion, but it's just part of a debate. Like, I would like to try this, or Let me do another one with more stillness, let me emphasize that. Rather than I think you should emphasize this, I think - you know, I don't impose choices.
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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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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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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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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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As an actor there's no autonomy, unless you're prepared to risk the possibility of starving.
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There's so much crap talked about acting.
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I think that various styles and methods and approaches are an invention of people who don't understand the process of acting and who try very hard to label things.
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I've met quite a number of people in my career, but I do have an extraordinary memory. And even though they may drift into the periphery of my memory, I can bring them right back when I need them.
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If your best friend has stolen your girlfriend, it does become life and death.
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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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