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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.

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

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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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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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Millions of children are disempowered and we need to empower them.
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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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There's so much crap talked about acting.
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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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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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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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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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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 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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Hamlet is an astonishing intelligence.
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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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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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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 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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Shock is shock. Your body goes into shock, regardless of it being real blood or fake blood. The mind sends powerful messages to all the various glands and secretions in the body. It's impossible trying to act it it just happens. It's a very important question: no acting.
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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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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'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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