Chiwetel Ejiofor Quotes

Once you click into a character, to a certain degree, you can do a lot else. You can do other stuff, then come back and click right into the character. It's sort of funny that way, the way the mind works. Once it's there, it's sort of there. For the stage, for example, all through the day, you're not onstage. You're living your life, la-la-la, then the lights go down, then boom! All of a sudden, you're in this thing. There's a kind of reflex muscle trigger that happens, and all of a sudden you're back into the role. It's just getting there in the first place that's tricky.

What happens is some of the characters I've played have voices that are so different from my own, that it would be ridiculous if I would dip in and out of that voice in between takes to ask for a coffee, or something. Or to gossip about whatever was going on.

When anything is present to the mind, what is the very first and simplest character to be noted in it, in every case, no matter how little elevated the object may be? Certainly, it is its presentness .

I know there are a lot of people who like to get very involved in their characters, but I, personally, find it too involved. I just like to do it as a job - and it's my job to make it look real.

The miracle of love comes to you in the presence of the uninterpreted moment. If you are mentally somewhere else, you miss real life.

The point of acting is to hide yourself and get lost in character. To play the same character in eighteen movies would be defeating the purpose I believe so I try to keep a little bit of diversity.

Open yourself and flow, my friend. Flow in the total openness of the living moment.

In rare moments of deep play, we can lay aside our sense of self, shed time's continuum, ignore pain, and sit quietly in the absolute present, watching the world's ordinary miracles. No mind or heart hobbles. No analyzing or explaining. No questing for logic. No promises. No goals. No relationships. No worry. One is completely open to whatever drama may unfold.

A great mind is one that can forget or look beyond itself.

Acceptance of what is immediately frees you from mind identification and thus reconnects you with Being. Resistance is the mind.

Our intention is to affirm this life, not to bring order out of chaos, nor to suggest improvements in creation, but simply to wake up to the very life we're living, which is so excellent once one gets one's mind and desires out of its way and lets it act of it's own accord.

When you meditate, what you actually do is to enter into a calm or still, silent mind. We have to be fully aware of the arrival and attack of thoughts. That is to say, we shall not allow any thought, divine or undivine, good or bad, to enter into our mind. Our mind should be absolutely silent. Then we have to go deep within; there we have to observe our real existence.

Ego could be defined as whatever covers up basic goodness. From an experiential point of view, what is ego covering up? It's covering up our experience of just being here, just fully being where we are, so that we can relate with the immediacy of our experience. Egolessness is a state of mind that has complete confidence in the sacredness of the world. It is unconditional well being, unconditional joy that includes all the different qualities of our experience.

The real master is only a presence. He has no intentions of being a master. His presence is his teaching. His love is his message. Every gesture of his hand is pointing to the moon. And this whole thing is not being done, it is a happening. The master is not a doer. He has learned the greatest secret of life: let-go. The master has drowned his ego and the idea of separation from existence itself.

To stop your mind does not mean to stop the activities of mind. It means your mind pervades your whole body.

It takes a little time to create a gap between the witness and the mind. Once the gap is there, you are in for a great surprise, that you are not the mind, that you are the witness, a watcher. And this process of watching is the very alchemy of real religion. Because as you become more and more deeply rooted in witnessing, thoughts start disappearing. You are, but the mind is utterly empty.

When I do a film, the days before or the night before, I throw up. Sometimes it's just in my mouth and I swallow it back, but sometimes it's real. Whatever it is, it's hard. I don't do the first five or ten minutes of my character's appearance in a movie until the middle of the shooting schedule because I don't want him to be defined by my nervousness. So, we do the middle of the picture first.

When becoming a character, you have to steal. Steal whatever you see. You can even steal from other actors' characterizations; but if you do, only steal from the best.

Patience asks us to live the moment to the fullest, to be completely present to the moment, to taste the here and now, to be where we are. When we are impatient we try to get away from where we are. We behave as if the real thing will happen tomorrow, later, and somewhere else. Let's be patient and trust that the treasure we look for is hidden in the ground on which we stand.

Some of you guys are sitting down, some of you guys are standing up. But if you really take a moment and you go inside your body, you can feel your weight against the earth, and you can recognize that you're the only person who's feeling your own weight against the earth right now.

When you're playing a character, you don't really want to have an opinion about where you're going to end up. Otherwise, you can't really stay in the moment and in your character.

The actor must know that since he, himself, is the instrument, he must play on it to serve the character with the same effortless dexterity with which the violinist makes music on his. Just because he doesn't look like a violin is no reason to assume his techniques should be thought of as less difficult.

It was one of the best days of my life, a day during which I lived my life and didn't think about my life at all.

And it interferes with your ability to be a good actress if you're constantly aware of yourself as a person. To me, it isn't valuable to think about how I'm coming off all the time if I'm trying to create a character, because that's a process that I love. It's like falling in love and surrendering to another person or a character.

At some point, you have to disconnect, if the obsession with playing a real person gets in the way of the movie at large. At the same time, we're all interested, as actors in trying to get as close to the real thing as we can, and whatever you can do in order to create that transformation feels fun and, for me, the furthest I can get away from myself is fun. It's all part of the costume, the accent, and all that stuff. It's about trying to get close without it being a detriment to the point of view of the story that you're trying to tell.