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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.
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
Another
Stepping
Even
Boat
Going
Miles
Like
Hour
Asked
Almost
Though
Boats
Hours
Gandhi
More quotes by Ben Kingsley
In cinema, the leading player is the director.
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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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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'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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One of the greatest things drama can do, at it's best, is to redefine the words we use every day such as love, home, family, loyalty and envy. Tragedy need not be a downer.
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I think if I were to go back on stage I might be in great danger of acting.
Ben Kingsley
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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There's so much crap talked about acting.
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They're a very strange lot actors, very strange people.
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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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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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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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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'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 always try to find something I admire about every character I play.
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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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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 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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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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