Ralph Fiennes Quotes

I think it's very rare, as an actor, that you get to a script, or an idea of a script, and you go, "Oh, I just have to do that!" It fell into place very quickly.

I meet Susan [Saradon], and she was amazing. We sit down to go through the script [Thelma & Louise]. I swear, I think it was page one - she says, "So my first line, I don't think we need that line. Or we could put it on page two. Cut this ..." And I was just like ... My jaw was to the ground.

You have to be willing to be manipulated in the first place because you can either recognize that in your director and then fight it because you don't trust them, but I'm not going to let them manipulate me. Or you think they're on to something and that they're manipulating something out of you which is interesting and new.

I think what's great about that relationship between an actor and a Director is you have to really blow away all your thing, the safety things that you put up.

You have to take away the idea that something you do is right or wrong. I don't think there's a right or a wrong; I think there's an "it works" or "it doesn't work" for the whole. And that's why you need a director you trust, so you can just keep throwing out suggestions.

I may film scenes I had no intention of filming; things suggest themselves on location, and we improvise. I try not to think about it too much. Then, in the cutting room, I take the film and start to put it together, and only then do I begin to get an idea of what it is about.

I always thought the editor should cut the film and so I'll come in and look at the movie. Just because that's the only way I can really see the ideas of the editor, it's really working together. Yes it's a hierarchy, yes I'm the boss, but I like to see and to think about the idea, and it's about us asking, 'do we have to say that?' and, 'how do we make it there?' So it's advising the editor, it's very give and take, it's very free, but in the end, it's wonderful once you get through the first couple of cuts.

I think great directors really respect their actors and vice versa. That mutual respect makes the job fun instead of anything but.

Ben [Peeler] and I have known each other for a decade. He trusts my crazy ideas and spontaneous combustion and he gets the players I want and knows the kind of personality players I like. He has taste that I trust and that to me is more important than any technical things.

The cool thing is, when we first did our joint Ring Of Honour-New Japanies Wrestlers, I think that definitely existed. I think the ROH guys were like, "we can't let these New Japan guys outshine us" the new japan guys were ready to make a statement as it was this really big event in America. But the cool thing about this relationship is we've literally become a family now. A lot of us are friends with each. We obviously respect each other.

The movie industry is one big collaboration. Music gives me that freedom to create things straight from my heart and my mind.

Radical transparency is critical to having an idea meritocracy because it shows what's actually happening without spin and prevents people from maneuvering politically behind each others' backs. It brings problems and weaknesses to the surface and allows people to see how they are dealt with, so it's great for training people on how to deal with real problems.

But I think if it's the right person, you wouldn't have to work so hard at intimacy. I think—hope—it would just happen naturally. Otherwise, opening up to the wrong person..." I made a face. "Like putting ammo in their hands.

I think I've been lucky in the regard to have a team that sees me as an artist.

These people who are always briskly doing something and as busy as waltzing mice, they have little, sharp, staccato ideas, such as: "I see where I can make an annual cut of $3.47 in my meat budget." But they have no slow, big ideas.

Eleanor Roosevelt doesn't ever do anything that is going to hurt her husband. She tries things out on him. She gets permission to do things. The amazing thing, I think, historically, is that he says, "Go do it. If you can make this happen, I'll follow you."

I think at some point you have to empower others and really allow everyone else to do what they're hired to do and what they're brought onto the team to do.

People said things they didn't mean all the time. Everybody else in the world seemed able to factor it in. But not Lena. Why did she believe the things people said? Why did she cling to them so literally? Why did she think she knew people when she clearly didn't? Why did she imagine that the world didn't change, when it did? Maybe she didn't change. She believed what people said and she stayed the same." (Lena, 211)

I think it's possible to be free in a big production. It's the eye of the director and the actor and the story.

I don't think it's a prize when actors and directors or writers and actors work together more than once. You have a trust and a shorthand and a lot of times you even reach the point, where in the process, you don't even have to talk.

If you can make someone believe that you believe in the idea then I think that's worth a lot.

It's odd, how those things happen to actors. A thing where you think, "I have no idea how to do this," something will happen in your life comes up and you just get it. I don't know how you get it, but actors are pretty extraordinary, in that regard. I think it's fear that happens.

The people that are around me that give me ideas that I pass along or we try, the one thing I never do, I never give credit to anybody but myself. So I take all of the ideas. So everybody thinks that all of the ideas are mine.

A lot of actors talk about how much they love the people they work with, and that's true, to a certain extent, but Texas and I had a very strong bond, right from the beginning. I think Texas made a mental decision to just be on my side, 110%.

[My work] just develops and develops, and I'm very nicely served by the universe: just as I'm ready to take the conversation further with myself, some other individual pops up, like David McKenzie did, with this idea of making this film [Teknolust], and provides exactly the leap to the next adventure.