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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
Children
Unicef
Stability
Encourage
Wants
Child
Sense

More quotes by Ralph Fiennes

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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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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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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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When I first filmed things, they were always slightly awkward.
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You're meant to be playing the distillation of evil, which can be anything.
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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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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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I respond to a part just intuitively when I read a script.
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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 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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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 veer away from trying to understand why I act. I just know I need to do it.
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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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Kenya doesn't have much of an infrastructure for hosting a film.
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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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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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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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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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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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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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