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I don't feel I'm playing villains all the time.

Ralph Fiennes

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Ralph Fiennes
Age: 62
Born: 1962
Born: December 22
Actor
Character Actor
Film Actor
Film Director
Film Producer
Stage Actor
Television Actor
Voice Actor
Ipswich (parish)
Ralph Nathaniel Twisleton Wykeham Fiennes
Ralph Nathaniel Twisleton-Wykeham-Fiennes
Villain
Playing
Feel
Feels
Time
Villains

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We are now living in a jungle where the strong eats the weak,we are not better than the Arabs to despise them.
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I never studied anything about film technique in school. Eventually, I realized that cinema and theater are not so different: from the gut to the heart to the head of a character is the same journey for both.
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I went out to Mount Kilimanjaro, which I thought was very beautiful, but there were a lot of people there.
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I have grown up loving Shakespeare.
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In the best material, you always should be able to somehow make a case for a story to be transposed to any other time.
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When I first filmed things, they were always slightly awkward.
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The actor shouldn't edit themselves or be anxious. And the actors that I admire are always the ones who are inventive and their imaginative life in free-willing. It's a director's job to go, No here, don't do that, go there.
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You're meant to be playing the distillation of evil, which can be anything.
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It's not great if someone gives you sort of bland praise without giving you clear direction and say, This is good, let's try it like this. I have worked with someone who seemed quite inarticulate and just would say, That's good, that's good. That's very frustrating because - it's nice to know something is good but you know it can always ch
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I'm more relaxed about how the editing process will create a performance and that, in a way, gives me a sense of freedom.
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I think Shakespeare is like a dialect. If I heard a broad Scots accent, I'd probably struggle at first but then I'd start to look for words I recognise and I'd get the gist. I think Shakespeare is like that.
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I'm not very good at being domesticated. I've tried. The domestic life I find claustrophobic - the rituals and habits and patterns.
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There are those moments when you shake someone's hand, have a conversation with someone, and suddenly your all bound together because you share your humanity in one simple moment.
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Kenya doesn't have much of an infrastructure for hosting a film.
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God is not anything human. God is a force, God is chaos, God is unknown. God is terror and enlightenment at the same time.
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I feel there's so much still to learn about acting. But there is some magic in the capturing of performance and in the process of editing a performance. The psychology of human beings and what's coming through the face... that fascinates me.
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I was only interested in my scene, and I had to go through thousands and thousands of other scenes. I got my scene and I read it many, many, many, many, many times. That was my research.
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I learned a lot about acting - watching not just myself but other actors and learning how to distinguish between two great takes. It's also about one's own taste in performance.
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There's a challenge to playing these fantasy figures because they are fantasy figures. You have to enter into this sort of imaginative world of the writer.
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People fear they won’t get what they want.
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