Quotes from Ralph Fiennes

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.

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

I guess I'd love to be surprised by something I had never thought of.

People fear they won't get what they want.

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

Kenya doesn't have much of an infrastructure for hosting a film.

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.

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

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!'

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.

It was just two energies between two people, you can't prescribe that.

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

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

Within the process of filming, unexpected situations occur.

I'm sure acting is a deeply neurotic thing to do.

When you meet women, don't pretend to be anything that you're not.

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

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.

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.

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.

I've never felt fallow in the sense that there's been no work.

Education, awareness and prevention are the key, but stigmatisation and exclusion from family is what makes people suffer most

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.