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In cinema, the leading player is the director.
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
Cinema
Director
Directors
Player
Leading
More quotes by Ben Kingsley
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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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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I love storytelling. If you strip all the bits away, what you'll find at the center is a storyteller. As I warm to my career and love it more, I have a sense that storytelling is healing, in many ways. You can reach an audience and heal, and by heal, I mean entertain and provoke. It's a wonderful life.
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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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I have a rather naive approach, I think, to my job.
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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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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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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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With narration, you have to be very accurate with your voice. It's a good exercise to do.
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Well, it's wonderful to be identified strongly with my work.
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Hamlet is an astonishing intelligence.
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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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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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I hope I'm able to achieve more on camera through stillness, through focus, through being quite careful to do less on every take, rather than more. So I'm reducing, rather than adding. Which hopefully is a good exercise. That's what I'd like to do.
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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 if I were to go back on stage I might be in great danger of acting.
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I don't honestly think people know what acting is.
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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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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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