British - Actor | July 10, 1974 -
From deep in the slave hut is somebody calling over 150 years to all of our experiences and all of our ideas on human respect, and all of our ideas on dignity. And I felt like that's just incredibly powerful.
Chiwetel Ejiofor
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I think that all the talented filmmakers sort of share, I think, a sense of allowing magic to happen; of creating a stable and secure environment for performers to feel they can push to the end of their ability.
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I started, obviously, doing theater, and I always thought that I would; in a way, I always thought that I'd be a theater actor. When I was starting out, I didn't really plan on making films, actually.
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I've just tried to keep my eyes open, tried to read everything you can, and tried to see whether I see myself within it. If I do, then I can get excited about it.
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I think when I was doing 'Amistad,' I was just too young to really understand what the process was, and beyond that, I hadn't really got involved. It was just somehow - and I thought that the artistry was all in the theater.
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Dividing everybody into genders and sexuality and races and religions, and I think it's important to have films out there, to have discussions out there which really try to get to grips with where that kind of thing can lead.
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I loved reading when I was young. I was just completely taken by stories. And I remember taking that into English literature at school and taking that into Shakespeare and finding that opened up a whole world of self-expression to me that I didn't have access to previously.
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If you're looking at people like Patrice Lumumba, you are looking at people who had a very definite plan, and events overran them.
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I was able to go on stage and work until it felt right or felt good. It meant that I very quickly realised that it was the job for me.
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I enjoyed being in California for a while. But that's the thing about London: you can't really shake it. I've always had the impression when I was in L.A. for long periods of time that simultaneously my life was happening somewhere else, and I'm missing it.
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I look at scripts really for whether they can be moving or penetrate some kind of truth. You are constantly chasing that feeling as an actor when every part of a production comes together.
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I was probably 14 or 15 when I was first on stage at school doing 'Measure for Measure.' I immediately felt it was a great way of expressing oneself at a moment when I didn't think I could express myself, really. I suddenly had access to this range of emotions and thoughts and feelings that were there in me. I was surprised by that.
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