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You're meant to be playing the distillation of evil, which can be anything.

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
Distillation
Meant
Playing
Evil
Anything

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People fear they won’t get what they want.
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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 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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Education, awareness and prevention are the key, but stigmatisation and exclusion from family is what makes people suffer most
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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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So much of movie acting is in the lighting. And in loving your characters. I try to know them, and with that intimacy comes love. And now, I love Voldemort.
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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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Going to the movies was a big event in my youth. My father would be the initiator - he'd have me put on a jacket to see a film.
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Unicef's education initiative does not seek to impose, but to initiate and integrate. It does, however, aim to address the huge bias towards education for boys at the expense of girls in so many cultures.
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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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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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You have to just dive over the edge. You haven't got time to mess about.
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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 veer away from trying to understand why I act. I just know I need to do it.
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I guess I'd love to be surprised by something I had never thought of.
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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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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 respond to a part just intuitively when I read a script.
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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.
Ralph Fiennes