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Moses had a very bad stammer. Aaron often had to speak for Moses when he was in front of the pharaoh and could not articulate. (unknown)
The astonishing silences in a Tarkovsky film... can sweep you into screen and... you don't want to end. (movies)
There have not been any troughs as regards my work. There's never been a trough of my assurance. (work)
I have no misconceptions about my dentist because when I go to my dentist I see what he does... Nobody can really understand the process of acting because... we don't want them to. (doctors)
To offer to our tribe, as storytellers, narratives which are absent of a dark side is a terrible disservice. I'm just fighting for the right for a film to be stirring and brilliant and illuminating. (movies)
There's probably a young director, male or female, out there somewhere, I don't even know their names, but maybe I'm destined to work with them, and we'll have an extraordinary relationship. I would love to work with Claire Denis because I think she's extraordinary. (direction)
I think that really the director should try and shape what is there. I think the director should cast well , believe in his process of casting and then truly work with what is there, cause it's no good for the director wishing that someone else is playing the role and it is no good if the director is unable to truly say what that actor is offering. (direction)
I don't honestly think people know what acting is. (people)
As an actor there's no autonomy, unless you're prepared to risk the possibility of starving. (actors)
It's very difficult to be objective about one's childhood because you have no perspective on it. I have nothing to compare it with. The only way I can lead any kind of a comparative life is to portray other men. (childhood)
If people are generous with their information, then the actor can use that information lovingly and respectfully. (actors)
Everything that's made me what I am today is part of that process of being intrigued and curious. But I really couldn't put my finger on any specific trigger from my childhood. (childhood)
I do have a massive curiosity. (curiosity)
There was one titanic guiding light on the film set, and I was in the presence of a true Mahatma, in the deepest and most profound sense of the word. (movies)
I am not a classical actor; I am an entertainer. I fell into classical acting by mistake and actually started out as a singer. I wrote the music for a musical play and it transferred to London and I sang the songs in London. (actors)
The number of choices you make in the event that you see on stage, those choices are sometimes largely determined by the rehearsal process and the experiments that you go through and the choices that you make in the rehearsal room, not in front of an audience. (choice)
I use my intuition, my imagination, my voice and my body. That is really what actors do. There is a lot of nonsense talked about acting, but really all we do is use our voice, our body, our imaginations to create portraits about people so that you and the audience can be pulled into beautiful stories. (intuition)
Fifteen years before I became a screen actor, I was in the theatre. A lot of my work was comedy, which I loved doing. It's harder. (past)
There's always a part of me that's migrating. That's so much part of my attempt to portray all these different men. The sense of being displaced from my home, homeland and language is a very real part of my working life. (work)
Hopefully, as I get older in the business, I make my choices more accurately, and I perhaps know from either the script or the first meeting that it isn't going to work. (work)
I think a great director is able to conclude things with grace... and I remember Gandhi ending in a very similar way. (direction)
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