A Quote by Ben Kingsley
I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives.
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I don't want to be like the actor who rehearses everything in the bathroom, then comes to the set and carries on completely uninterrupted while the other actors tiptoe away. I'm so dependent on reacting to the other actors on the set, and to the director. I'm very responsive. I react. And I treasure the energy that reaction gives. I feed off that and work off that. I don't like to be too prepared, no. However we define too prepared, if I feel it's getting that way, then I'll back off. My line-learning is very special. I like to learn the dialogue of the whole film before I arrive.
To go into more specifics regarding actors, whether they're from Korea or the U.S., all actors know if they are loved by the director. When they feel that love from the director, they respond by giving a great performance on camera. Also, everyone on set - the crew, the actors - they were aware of the film's message and its broad theme, so these big issues were never discussed on set.
Working with Ram Gopal Varma is a great experience. He is such a wonderful director and no other director gives freedom to the actors like him.
If the actors aren't reacting the way people would react, that's where you step into disbelief.
Your crew becomes your family and you trust the director and the other actors on the set, and it's a very safe place.
When you're a lead role, I'm learning that you set a tone for the movie in a way, like a director does, or like other actors do. But it seems like you set a mood on set.
The reaction to any word may be, in an individual, either a mob-reaction or an individual reaction. It is up to the individual to ask himself: Is my reaction individual, or am I merely reacting from my mob-self? When it comes to the so-called obscene words, I should say that hardly one person in a million escapes mob-reaction.
As a director, you have to know what actors are doing. You're the one telling them what to do. The actors' job is to come prepared to the set, but sometimes, if they're beginning actors or people who are non-actors, you have to teach them how to act.
Ferguson, as a manager, and Ken, as a director, are very similar. One's a great manager, the other a great director, but both have a lot of humanity and a lot of humility. They always give you the energy... with Ferguson when we played a game it was like it was his first game - he's so passionate and gives you ambition every time. And Ken works the same way - they're very similar.
Actors, I think, are all the same. Both Korean actors and American actors are all very sensitive people, and they are all curious to know what the director thinks of them and how they are evaluated, and they try to satisfy the director. And they like it if you listen carefully to their opinions and accept them.
We should use our economic power in lots of different ways. I think we can use that in order to keep [Vladimir] Putin contained, because he is a one-horse show. Energy. And we have an abundance of energy, but we have archaic energy exportation rules. We need to get rid of those, allow ourselves to really make Europe dependent on us and other parts of the world dependent on us for energy. Put him back in his little box where he belongs.
With acting I am being led by the script, other actors, the director, etc. But with songwriting I feel it is much more self reliant and allows me to be in the creative experience without being as dependent on others.
I'm more interested in knowing my cues than my lines. If you know what your cues are, then you know what your reaction is going to be to them. Acting is about reacting, and if I can kind of purely react, that's easier for me.
I have my set rigged with the biggest sound system possible and have a mini jack for my iPod attached to my director's chair. I find playing music is a very direct way to communicate with actors and the crew, especially those crew members who are on the periphery of the set. I like dancing on set too, it's a good way to release tension.
Rain amplifies your mistakes, and water on the track can make your car handle unpredictably. When something unpredictable happens you have to react to it; if you’re reacting at speed, you’re reacting too late. And so you should be afraid.
Your actors need to trust you as a director, but normally, I think you just need to have an open communication between the actors and the director. I think the director needs to really paint his or her vision to the cast and let them know the kind of mood that he or she is making. I think that's very important.
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