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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

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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
Grateful
Scene
Potter
Week
Potters
High
Harry
Bigs
Deliver
Two
Weeks
Shoot
Expectations

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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 guess I'd love to be surprised by something I had never thought of.
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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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People fear they won’t get what they want.
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I admire the world of the books and the characters that she's created, but I'm not an addict of Harry Potter. I don't feel possessive about it.
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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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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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I respond to a part just intuitively when I read a script.
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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 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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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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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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When I first filmed things, they were always slightly awkward.
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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'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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You're meant to be playing the distillation of evil, which can be anything.
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Voldemort? That might be 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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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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