Quote

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.

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
Ease
Terror
Hunger
Obeyed
Exists
Incarceration
Flesh
Tribal
Everywhere
Insistence
Honour
Longing

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You cannot learn a lesson of profound forgiveness unless you understand what it is to be wounded and forgive that which has wounded you.
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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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The biggest surprise in a man's life is old age.
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Well, it's wonderful to be identified strongly with my work.
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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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What is chess, do you think? Those who play for fun or not at all dismiss it as a game. The ones who devote their lives to it for the most part insist that it's a science. It's neither. Bobby Fischer got underneath it like no one before and found at its center, art.
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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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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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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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Fifteen years before I became a screen actor, I was in the theatre. A lot of my work was comedy, which I loved doing. It's harder.
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We are adjusters. We empathize, we change rhythm and above all we listen to our fellow actors-if they're good actors.
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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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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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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 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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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 have a rather naive approach, I think, to my job.
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I told myself that I would not go back to the camps as an actor ever again, that I was very frightened of wearing a yellow star. It was fear, it was cowardice, I was.
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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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