Quote

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.

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
Lives
Extraordinary
Part
Touch
Children
Hold
Trying
Inside
Think
Lose
Thinking
Loses
Either
Onto
Child
Precious

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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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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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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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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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Hamlet is an astonishing intelligence.
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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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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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I don't honestly think people know what acting is.
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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 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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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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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'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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I was fortunate as a young actor, to go straight to the RSC, where I learned that being an actor can bring with it wonderful responsibilities.
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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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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 is always something about the villains that I'm able to play, quote unquote, that isn't villainous.
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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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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 always try to find something I admire about every character I play.
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