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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
Shoot
Expectations
Grateful
Scene
Potter
Week
Potters
High
Harry
Bigs
Deliver
Two
Weeks
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I don't feel I'm playing villains all the time.
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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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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 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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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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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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You have to just dive over the edge. You haven't got time to mess about.
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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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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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When I first filmed things, they were always slightly awkward.
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I have grown up loving Shakespeare.
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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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Little moments can have a feeling and a texture that is very real.
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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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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 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 veer away from trying to understand why I act. I just know I need to do it.
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