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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.

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
Change
Good
Empathize
Fellow
Rhythm
Fellows
Listen
Actors

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I have a rather naive approach, I think, to my job.
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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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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 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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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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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 honestly think people know what acting is.
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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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There is always something about the villains that I'm able to play, quote unquote, that isn't villainous.
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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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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 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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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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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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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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Hamlet is an astonishing intelligence.
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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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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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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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