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I don't feel particularly comfortable about actors using whatever power they may have to push their beliefs, unless they're extremely well informed.

Ralph Fiennes

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Ralph Fiennes
Age: 61
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
Feels
Belief
Informed
Whatever
Beliefs
Actors
Extremely
Power
Push
May
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Wells
Using
Well
Comfortable
Feel
Unless

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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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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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I was grateful to have two weeks to shoot this one scene in Harry Potter. It's a big, big scene, but they have to deliver. And they have high expectations.
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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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You dread that there will be real problems during filming.
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Voldemort? That might be real.
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We're in a world of truncated sentences, soundbites and Twitter... [Language] is being eroded -- it's changing. Our expressiveness and our ease with some words is being diluted so that the sentence with more than one clause is a problem for us, and the word of more than two syllables is a problem for us.
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I don't feel I'm playing villains all the time.
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It [the scene] can be something given to you and you go, Ah this is a good idea, I can work with this. Sometimes it cuts right across your instinct and that's when I might resist. Even if the director might be insistent, I think it's very important to say, Look, I'm not feeling this. I'll try to make it work but I got to let you know.
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I veer away from trying to understand why I act. I just know I need to do it.
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It's great to be on a set where there's time and there's focus and there's also a kind of adrenaline thrill on a set where people are saying: We have to get this shot, we've have to go, we've got to move on!
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I have grown up loving Shakespeare.
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Most films are rooted in a book or a comic strip, but I don't go out there saying I want to do adaptations.
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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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You're meant to be playing the distillation of evil, which can be anything.
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When I first filmed things, they were always slightly awkward.
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I admire the world of the books and the characters that she's created, but I'm not an addict of Harry Potter. I don't feel possessive about it.
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I have a lot of stuff I want to talk about and offer up. It would be odd not to have ideas about something.
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He's really sort of the devil. He's completely emotionally detached. He has no empathy. You find that in psychopaths. It's about power with Voldemort. It's an aphrodisiac for him. Power makes him feel alive.
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I'm interested in the spirits of people. In the theatre, there's the acting part of acting - and I'm not saying that can't be great - and there's the essence. To explore that essence, you need a key, a look, a gesture, an insight that unlocks the person's soul.
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