A Quote by Ben Kingsley
There are some directors, lesser in confidence or skill, who make the actor feel very uncomfortable because you feel you're auditioning for them, every day, and that's a terrible feeling on the set.
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Some people make you feel better about living. Some people you meet and you feel this little lift in your heart, this 'Ah', because there's something in them that's brighter or lighter, something beautiful or better than you, and here's the magic: instead of feeling worse, instead of feeling 'why am I so ordinary?', you feel just the opposite, you feel glad. In a weird way you feel better, because before this you hadn't realised or you'd forgotten human beings could shine so.
I really don't feel it's necessary, as an actor, to make people feel uncomfortable, just because you need to be in a certain headspace. So, I do take myself away and do my own work and hunker down.
I've talked about tall poppy syndrome when I see people. I used to be like, 'Why am I feeling this way? What is that person taking from me that makes me feel inadequate?' That same feeling you feel when you feel uncomfortable because people start talking about racism, lean into that feeling, don't just look away from it, because you can't pretend.
I think directors can be a little insensitive to how vulnerable an actor is, when he's giving a performance. Part of the job of an actor is to invite scrutiny, but with that, the people around them have to nurture that and put them in an environment where they feel safe and they feel like they can risk something.
The trouble with audition process is, when you're an unemployed actor, it's the only time you get to act, and it can be quite fun. If you feel in control of the material and you feel that the people are pleased to see you and are excited by you auditioning for them, it can be a really rewarding process. But it can also be a very humiliating process.
That really sets great directors apart from good directors: their ability to make you feel like you matter, even if your part is much smaller. That's one thing I found with most of the great directors I worked with: They all have that skill. Not everyone takes the time.
If it's something that I feel uncomfortable with, that's a reason for me to write it. I kind of like to make myself feel uncomfortable. I think if you're starting to feel uncomfortable with something when you're writing it, that's the reason really to push on with it.
Love scenes are always weird, though. They're always uncomfortable. It's all the people around who make it uncomfortable. It's not usually the actor you're working with, because they usually feel just as weird as you do!
Truthfully, most directors don't direct actors. Every actor is different, so when you're asked, "How do you approach an actor?," it depends on the actor. With some, you do nothing. With some, you're very specific.
I think it's one of the nicest privileges as an actor is to know that you can move people in one moment, make them think about their lives, or make them laugh or make them cry or make them understand something. Or just make them feel something because I think so many of us, including myself, spend too much time not feeling enough, you know?
You have to understand that people feel threatened by a writer. It's very curious. He knows something they don't know. He knows how to write, and that's a subtle, disturbing quality he has. Some directors without even knowing it, resent the writer in the same way Bob Hope might resent the fact he ain't funny without twelve guys writing the jokes. The director knows the script he is carrying around on the set every day was written by someone, and that's just not something that all directors easily digest.
How can you be afraid to feel? Isn't fear a feeling? If you're feeling fear, you've felt one of the most negative emotions there is to feel. Everything else should be a piece of cake. Feel good, feel happy, feel healthy, feel loved, feel abundant, feel creative, feel compassionate, feel knowledgeable, feel powerful.
If you feel uncomfortable on stage, you can very easily descend into a sort of abyss, convinced you're the worst actor ever, that you're a disgrace to the profession, that you're a disgrace to yourself. It's an awful feeling.
I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.
I feel I have been a part of some very wonderful films, and I have had it in mind when I was on the set, every day, that what I am doing has meaning.
Being healthy is feeling the same way as little children feel. Little children are bursting with energy every day. Their bodies feel light and flexible; moving is effortless. They're light on their feet. Their minds are clear; they're happy, and free of worry and stress. They sleep deeply and peacefully every night, and they wake up feeling completely refreshed, as if with a brand-new body. They feel passionate and excited about every new day. Look at little children and you will see what being healthy really means. It is the way you used to feel, and it is the way you should still feel.
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