I think that various styles and methods and approaches are an invention of people who don't understand the process of acting and who try very hard to label things.
One of the greatest things drama can do, at it's best, is to redefine the words we use every day such as love, home, family, loyalty and envy. Tragedy need not be a downer.
Somewhere in your career, your work changes. It becomes less anal, less careful and more spontaneous, more to do with the information that your soul carries.
I think if I were to go back on stage I might be in great danger of acting.
I'm very in love with the fact that the camera is revolted by acting and loves behaviour.
I might be asked to make an emotional expression which is me being absolutely, absolutely still and making maybe one movement, and there it is.
I think that most actors, and they're a very strange lot actors, very strange people, but I think that they attempt to keep in touch with the child.
If we hit the collective nerve of the audience on that night, that they would be standing up and rushing towards the stage to hug us.
I'm convinced that had I not changed my name, I don't think I would have had quite the same career curve that I eventually had.
All the great writers root their characters in true human behaviour.
There have not been any troughs as regards my work. There's never been a trough of my assurance.
I think the cinema you like has more to do with silence, and the theater you like has more to do with language.
John Lennon and Ringo Starr liked my songs. I used to write songs and they heard me sing songs on stage in London.
There's so much crap talked about acting.
I think one of my main moments of inspiration was when I was about 5.
I was very lazy in the sixth form at school, I wasn't motivated properly, I handled it very badly and I was not given a place at university to study medicine.
As a singer, I might have fallen among thieves. I wonder if I'd still be alive by now.
Fifteen years before I became a screen actor, I was in the theatre. A lot of my work was comedy, which I loved doing. It's harder.
The title is the equivalent of when you become a doctor after years of medical school training... I suppose after years of chewing up the furniture and scenery on stage and in films I get to Sir for being a thespian.
When I choose a role it's either because I recognise the man, or that I'm very curious to know him. If I neither recognise nor know him, then it is better that I don't play him.
I have a rather naive approach, I think, to my job.
I think that you can fall into bad habits with comedy... It's a tightrope to stay true to the character, true to the irony, and allow the irony to happen.
If I were to play somebody who ran a fish and chip shop, I would not work in a fish and chip shop for three months. Staring at chips is not going to help me in my performance.
If your best friend has stolen your girlfriend, it does become life and death.
I try not to make it easy for myself. I try very hard to stay in the moment. I'm not an actor who psyches himself up for a take. I do the opposite. I actually try and reduce, reduce, reduce, reduce, reduce and get to what I call a flat line or a zero.
The camera does not like acting. The camera is only interested in filming behaviour. So you damn well learn your lines until you know them inside out, while standing on your head!
I do remember, as a child, that I always imagined, when I was maybe 6 or 7, my fantasy was that everywhere I went I was being followed by an invisible film crew.
Once I start painting, once I start acting and working, it's not a holiday. It's not a respite, but it is, in a sense, a balance, but it's of equal weight. It's a balance it does balance out.
It is better for me to serve a charity as an actor or a voice, rather than at a luncheon being just a celebrity.
I enjoy this status so much, feeling that I'm close to the heart of the tribe as an actor, a storyteller, a troubadour, but socially quite distant because I don't fit into any particular comfortable slot.
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