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Unicef wants to encourage a sense of stability for a child.

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
Stability
Encourage
Wants
Child
Sense
Children
Unicef

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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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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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Success.. is all about being able to extend love to people... not in a big, capital letter sense but in the everyday. Little by little, task by task, gesture by gesture, word by word.
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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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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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Having gone through editing process, I can see that in actor's faces there's point where they're not managing their performance and that's, I think, the best place to be. You've done the homework, you've learned the lines, at that point you just sort of let it out.
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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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Kenya doesn't have much of an infrastructure for hosting a film.
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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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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 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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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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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 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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I veer away from trying to understand why I act. I just know I need to do it.
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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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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'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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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 have grown up loving Shakespeare.
Ralph Fiennes