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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.

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
Understand
Methods
Process
Labels
Hard
Invention
Trying
Various
Things
Method
Think
Approach
Approaches
Thinking
Style
Styles
People
Acting
Label

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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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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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If your best friend has stolen your girlfriend, it does become life and death.
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In cinema, the leading player is the director.
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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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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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There is always something about the villains that I'm able to play, quote unquote, that isn't villainous.
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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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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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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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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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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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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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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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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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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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