110+ Ralph Fiennes Quotes That Will Make You Believe In Yourself

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Ralph Fiennes popular quotes

Ralph Fiennes quotes that will make you believe in yourself. There are so many Ralph Fiennes quotes that can help you when you are tired of being in the same old rut, and all you need is a little push, a little inspiration, a smile on the face, change of mood, bring you out of the banality of life, make you laugh a little, or may even make you cry a bit, and these Ralph Fiennes quotes exists just do that.

Ralph Fiennes is a very famous English actor, movie producer, and also a director. Ralph Fiennes is a Shakespeare interpreter, and he had first earned success onstage at the Royal National Theatre.

Ralph Fiennes’ role of Amon Göth in Schindler’s List (1993) had earned him a lot of nominations for the Academy Award for Best Supporting Actor and also Golden Globe Award for Best Supporting Actor. Ralph Fiennes had won the BAFTA Award for Best Actor in a Supporting Role. Ralph Fiennes’ work as Count Almásy in The English Patient (1996) had earned him an Academy Award nomination, for Best Actor, a BAFTA and also Golden Globe nominations.

Ralph Fiennes has made an appearance in Strange Days (1995), Quiz Show (1994), Red Dragon (2002), The End of the Affair (1999), The Constant Gardener (2005), Maid in Manhattan (2002), The Reader (2008), In Bruges (2008), Great Expectations (2012) Clash of the Titans (2010), and also, The Grand Budapest Hotel (2014). Ralph Fiennes had voiced Rameses in The Prince of Egypt (1998) and also the character, Alfred Pennyworth in The Lego Batman Movie (2017).

We have dug up these Ralph Fiennes quotes from the depths of the internet and brought together best of these sayings in a single article. This post is probably the biggest database of Ralph Fiennes Sayings in a single place. These famous Ralph Fiennes quotes have the power to change your life by giving a novel outlook about the way you observe different aspects of your life. Hence, these popular Ralph Fiennes quotes should be read with caution and proper understanding of the context. Here are tons of Ralph Fiennes quotes that will open a treasure chest of Wisdom and experiences:

“I certainly gained a lot by reading about Shanghai.”

Ralph Fiennes best quotes

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“I don’t think he’s that complicated to begin with,”

Ralph Fiennes famous quotes “I like to keep fit, but I never lift very heavy weights.”

Ralph Fiennes popular quotes

“I don’t feel I’m playing villains all the time.”

Ralph Fiennes quotes

“I respond to a part just intuitively when I read a script.”

Ralph Fiennes saying

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“Actors use who they are to be someone else, but I would hate to ever think I’m playing myself. It’s imagining being someone else that is the key motivating thing for me. So when people want to know about me, it makes me a bit unnerved.”

“And although I’ve been very fortunate in the film work that’s come my way, I need to get back to the stage. If I’m away for a maximum of two years, I feel something’s wrong.”

“Any idealistic activity outside of my work is something confined to a few field trips with UNICEF in Uganda,”

“As an actor, there’s a bit of you that’s decided you want to be looked at and watched, but there’s a paradoxical bit that wants to run away.”

“Awards are like applause, and every actor likes to hear applause.”

“Being an actor means asking people to look at you. I guess I accept that. But it’s a profession in which the job is to show another world and other people. You may access it through bits of yourself, and your imagination and experience, but actually, in the end, you’re not playing yourself.”

“But experience has shown us time and time again, country after country, that it will be there.”

“But that’s why we have marketing and why I’m talking to people like you,”

“Daniel had to put up with a lot from me. Here’s a boy who’s tied up with a man pushing his finger into the wound on his head, laughing and delighting in the pain he’s causing. He had to act as though he was in agony and terror without having many words to say. I was full of admiration for him.”

“Fernando has a particular shooting style, … which you might call guerrilla or documentary. He wants to avoid anything that smacks of a camera setup. It’s as if the street informs the camera.”

“Gardeners are good at nurturing, and they have a great quality of patience, they’re tender. They have to be persistent.”

“God is not anything human. God is a force, God is chaos, God is unknown. God is terror and enlightenment at the same time.”

“Going to the movies was a big event in my youth. My father would be the initiator – he’d have me put on a jacket to see a film.”

“Having gone through editing process, I can see that in actor’s faces there’s point where they’re not managing their performance and that’s, I think, the best place to be. You’ve done the homework, you’ve learned the lines, at that point you just sort of let it out.”

“He said Quayle’s the sort who’d be good at rowing or playing rugby, … I know rugby players. They run hard and they tackle hard, but then they go off the field and they can be quite gentle.”

“he says at the end of a flood of interviews. ”I hate this word. I don’t see them as tortured. I see them as people. I suppose I’m drawn to the chance to show the complexity at the center of the drama.”

“He’s really sort of the devil. He’s completely emotionally detached. He has no empathy. You find that in psychopaths. It’s about power with Voldemort. It’s an aphrodisiac for him. Power makes him feel alive.”

“I admire the world of the books and the characters that she’s created, but I’m not an addict of Harry Potter. I don’t feel possessive about it.”

“I can’t go and shoot people in the back of the head because It’s a kids’ movie, which is actually quite a good test because you haven’t got the overt threat of a knife in the face.”

“I couldn’t get as big as a bodybuilder. I tried to put on as much weight in the right places as I could. My weightlifting was impressive for me, but not for some of the guys I see down at the gym.”

“I don’t feel particularly comfortable about actors using whatever power they may have to push their beliefs, unless they’re extremely well informed.”

“I don’t plan a career. That doesn’t work for me. I just have to go with my gut.”

“I feel there’s so much still to learn about acting. But there is some magic in the capturing of performance and in the process of editing a performance. The psychology of human beings and what’s coming through the face… that fascinates me.”

“I felt it [Shakespeare’s Coriolanus] is sort of an examination of our dysfunction as a nationalistic, tribal entities. I think the world is rocking and cracking open in weird and worrying places. And I think Coriolanus, the play, reflected that.”

“I got to read some writings by serial killers, and they got inside my head. They were quite disturbing. I read disturbing stuff about that very detached way of manipulating people to do things.”

“I guess I’d love to be surprised by something I had never thought of.”

“I have a great editor and I enjoy, in a masochistic way, being ruthless about my own performance. There’s an initial point in the editing, if you’re directing yourself, especially in my case, where you go, “Ouch, ouch, ouch, I can’t watch this.” And then, there’s a point where you become hard-nosed and just take your neurosis away and go, “What’s working? That’s okay. That’s okay. We can lose that, and lose that.” You get objective about it.”

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“I have a lot of stuff I want to talk about and offer up. It would be odd not to have ideas about something.”

“I have grown up loving Shakespeare.”

“I learned a lot about acting – watching not just myself but other actors and learning how to distinguish between two great takes. It’s also about one’s own taste in performance.”

“I loved doing Harry Potter. I had a great time on that. And I think it’s good to have a mix. I think you’re learning all the time.”

“I never studied anything about film technique in school. Eventually, I realized that cinema and theater are not so different: from the gut to the heart to the head of a character is the same journey for both.”

“I should say, a piece of advice that was given to me very early on by the principle of RADA (Royal Academy of Dramatic Art) which is where I went. When he auditioned me, he said, “Your speech, monologue, is fine. It’s good. Yeah, I think you have ability but you’re making it happen. Don’t make it happen, let it happen.” And that’s a sort of subtle shift I think, as an actor.”

“I spent the past week here in India getting a sense of the reality of HIV and AIDS in people’s lives. Fathers and mothers are dying, leaving children with no support. Stigma and discrimination is ruining the family lives. There is an urgent need for education, information, and increased awareness of HIV and AIDS. The response needs to be now. We cannot afford to become fatigued.”

“I think he falls in love with her all over again after she’s gone and as he uncovers what she had been up to — her work to uncover a vast and very corrupt corporate and political conspiracy. It’s particularly intriguing since — for much of the early part of the film — Justin is suspicious of her; thinking she was having an affair. I think the film asks questions about relationships between people and personal honesty. The honesty between couples and not just at the level of betrayal, but just about simple communication.”

“I think I feel more like you’re an actor for hire and you take the jobs you want to take, obviously, and some pay well and some don’t pay well at all but you go on a gut feeling and it’s all a big adventure.”

“I think Shakespeare is like a dialect. If I heard a broad Scots accent, I’d probably struggle at first but then I’d start to look for words I recognise and I’d get the gist. I think Shakespeare is like that.”

“I tried to play rugby but was never very good.”

“I veer away from trying to understand why I act. I just know I need to do it.”

“I was grateful to have two weeks to shoot this one scene in Harry Potter. It’s a big, big scene, but they have to deliver. And they have high expectations.”

“I was only interested in my scene, and I had to go through thousands and thousands of other scenes. I got my scene and I read it many, many, many, many, many times. That was my research.”

“I went out to Mount Kilimanjaro, which I thought was very beautiful, but there were a lot of people there.”

“If I had a gun to my head and I had to choose between theater and film I’d choose theater.”

“I’m an avid reader of magazines like The New Yorker and The New York Review of Books , … Sometimes they have articles about what big corporations are up to.”

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“I’m interested in the spirits of people. In the theater, there’s the acting part of acting — and I’m not saying that can’t be great — and there’s the essence. To explore that essence, you need a key, a look, a gesture, an insight that unlocks the person’s soul.”

“I’m more relaxed about how the editing process will create a performance and that, in a way, gives me a sense of freedom.”

“I’m not very good at being domesticated. I’ve tried. The domestic life I find claustrophobic – the rituals and habits and patterns.”

“I’m sure acting is a deeply neurotic thing to do.”

“In Shakespeare, keep it simple. Don’t over-inflect. The speech needs to be naturalistic and simple and accessible as much as possible.”

“In the best material, you always should be able to somehow make a case for a story to be transposed to any other time.”

“In the studio system, things are expected of a film. By the first, second, third act, there’s a generic language that comes out of the more commercial system.”

“It [the scene] can be something given to you and you go, “Ah this is a good idea, I can work with this.” Sometimes it cuts right across your instinct and that’s when I might resist. Even if the director might be insistent, I think it’s very important to say, “Look, I’m not feeling this. I’ll try to make it work but I got to let you know.””

“It has happened and it can happen again.”

“It shows the kind of man he is. To allow any emotion would be unseemly for him,”

“It was just two energies between two people, you can’t prescribe that.”

“It was latent in him. He doesn’t change character, … It’s not in his nature to be confrontational or create any tension. Good gardeners have to have a very quiet tenacity and insistence about them. This constancy, this determination, is in Justin, but it’s not high octane. I like that, that people don’t get it all in the beginning.”

“It’s great to be on a set where there’s time and there’s focus and there’s also a kind of adrenaline thrill on a set where people are saying: “We have to get this shot, we’ve have to go, we’ve got to move on!””

“It’s not great if someone gives you sort of bland praise without giving you clear direction and say, “This is good, let’s try it like this.” I have worked with someone who seemed quite inarticulate and just would say, “That’s good, that’s good.” That’s very frustrating because – it’s nice to know something is good but you know it can always change.”

“It’s the sort of part, not unlike Hamlet, maybe, where the actor brings their cloth to it.”

“It’s thrilling to have the opportunity to work in different areas, whether it’s on a project that has all the resources behind it like Harry Potter or James Bond and then to go somewhere there’s very few resources.”

“I’ve never felt fallow in the sense that there’s been no work.”

“Justin isn’t going to respond angrily … he’s going to carefully say, ‘What was she doing?”

“Justin sees something in Tessa. She’s getting at him,”

“Justin was a chance to play what I don’t quite succeed at. There’s a bit of Justin that I’m not, but I’d like to be,”

“Justin’s journey traces not only what Tessa was investigating, he’s also playing detective about their relationship,”

“Kenya doesn’t have much of an infrastructure for hosting a film of this scale. Our producer decided that for the film to really work it had to be in Kenya.”

“Like anything to do with trust, in any relationship it emerges and just the chemistry, vibe between two people [an actor and a director]. You just know whether this is someone I like to be with whose interaction with me I believe in.”

“Little moments can have a feeling and a texture that is very real.”

“Most films are rooted in a book or a comic strip, but I don’t go out there saying I want to do adaptations.”

“On these things we don’t really know until it is asked of us.”

“One of the things that binds us as a family is a shared sense of humor.”

“Performance is made in the editing room, and I’ve come to see the truth in that – the idea that they say performances are usually made in the editing room because what you film is the raw material. I think just going through the process of saying, “Which take do we use? Why is that the take we want? I want that take can you edit again, I’m not sure that’s the one, I think it’s this one.” And just because you go through that process, I think somehow it’s made me sort of more open about the [actor’s] possibilities.”

“Ridicule is also a weapon against forces of evil. Really clever, intelligent ridicule.”

“So much of movie acting is in the lighting. And in loving your characters. I try to know them, and with that intimacy comes love. And now, I love Voldemort.”

“Success is all about being able to extend love to people. The people I consider successful are so because of how they handle their responsibilities to other people, how they approach the future, people who have a full sense of the value of their life and what they want to do with it.”

“That’s the last thing that I would do. I wouldn’t be that patronizing.”

“The actor shouldn’t edit themselves or be anxious. And the actors that I admire are always the ones who are inventive and their imaginative life in free-willing. It’s a director’s job to go, “No here, don’t do that, go there.””

“The film depends on the audience’s belief in this relationship.”

“The patience, the tenacity of the gardener for me, it’s the spirit of Tessa.”

“The sets were fantastic. The Harry Potter sets are brilliant. You do get transported for a second.”

“The tensions between authority and the people need to be heard, especially when they are suffering and they can’t eat.”

“There are those moments when you shake someone’s hand, have a conversation with someone, and suddenly your all bound together because you share your humanity in one simple moment.”

“There are two equal parts to this movie,”

“There is a humanitarian impulse that one aspires to and there are days when one doesn’t do it very well.”

“There is a tension in relationships between wanting to return to the womb, but also wanting to be free. Because sometimes the woman’s attentions can be overly maternal, and you want to go, ‘Ahhhh!'”

“There’s a challenge to playing these fantasy figures because they are fantasy figures. You have to enter into this sort of imaginative world of the writer.”

“There’s a lot of people who feel there’s a tabloid journalist who had it coming.”

“There’s only one day to shoot one scene, you don’t get a second chance. You’ve got to say, This is what I feel. Could I try this?”

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“They made his exterior very simple so you can see the evil inside,”

“Unicef wants to encourage a sense of stability for a child.”

“Unicef’s education initiative does not seek to impose, but to initiate and integrate. It does, however, aim to address the huge bias towards education for boys at the expense of girls in so many cultures.”

“Voldemort? That might be real.”

“We’d all like to believe that perhaps people could stop killing each other.”

“We’re in a world of truncated sentences, soundbites and Twitter… [Language] is being eroded — it’s changing. Our expressiveness and our ease with some words is being diluted so that the sentence with more than one clause is a problem for us, and the word of more than two syllables is a problem for us.”

“What moves me in art is how we question who we are as people.”

“When I first filmed things, they were always slightly awkward.”

“When she was younger, my mother was quite committed to Roman Catholicism. But she got disillusioned with it and moved closer to something like Buddhist beliefs near the end of her life.”

“When theater becomes a soothing middle-class thing, when it’s packaged as the Night Out, then that’s the death of it.”

“When you get into the edit you’ll understand what making a film is. You’ll see all the things you missed and all the possibilities you have from what you shot.”

“When you go to areas that have poverty of that level, you’re ready to feel shocked and some degree of shame, coming in as a rich westerner.”

“Within the process of filming, unexpected situations occur.”

“Yes, it’s depressing when there’s a lack of clean water and sanitation, … But here are people living lives of vitality. I only felt welcomed.”

“You dread that there will be real problems during filming.”

“You feel yourself working to show something. I’ve learned to distrust that feeling.”

“You have to just dive over the edge. You haven’t got time to mess about.”

“You just want to find that little thing.”

“You want to have a critical success and you want people to go see it. It’s disappointing if something’s well reviewed and no one goes to see it.”

“You’re meant to be playing the distillation of evil, which can be anything.”

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