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You dread that there will be real problems during filming.

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
Filming
Dread
Problems
Problem
Real

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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 guess I'd love to be surprised by something I had never thought of.
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People fear they won’t get what they want.
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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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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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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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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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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 don't feel particularly comfortable about actors using whatever power they may have to push their beliefs, unless they're extremely well informed.
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It's thrilling to have the opportunity to work in different areas, whether it's on a project that has all the resources behind it like Harry Potter or James Bond and then to go somewhere there's very few resources.
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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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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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There is a tension in relationships between wanting to return to the womb, but also wanting to be free. Because sometimes the woman's attentions can be overly maternal, and you want to go, 'Ahhhh!'
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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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Voldemort? That might be real.
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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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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 have grown up loving Shakespeare.
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