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

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
Unicef
Stability
Encourage
Wants
Child
Sense
Children

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People fear they won’t get what they want.
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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 veer away from trying to understand why I act. I just know I need to do it.
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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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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 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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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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I loved doing Harry Potter. I had a great time on that. And I think it's good to have a mix. I think you're learning all the time.
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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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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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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 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 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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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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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'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'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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Voldemort? That might be real.
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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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