sir Ben Kingsley:My formative years were the shakespeare.His villains are extraordinary,they are brilliant.They are so richly layered that a British actor finds it almost impossible to create a two-dimensional villain if he's explored our wonderful shakespearean heritage.
Because God knows,life is imperfect and there are rough edges.And on your way to becoming good at something,you necessarily have to stumble and bump and fall and pick yourself up and dust yourself off and go again.

I find the energy in the building was quite different.And I'd applied to other drama schools,which had been a little more imposing and may be that's just my interpretation.I mean,at that age,you are so impressionable,that your nerves and your adrenaline make you very very aware of the energy of the building or the energy of the room,how welcome you feel,how high the steps is that you are being asked to step on to.And sometimes you make that transition easy,sometimes you make that transition hard.

Anyway that's part of the test.And here I felt like there is a very welcoming energy.And whatever happens here,it's fine,it's all right.Nothing is wrong,do your best.Not seems to me to be a really good environment to work in,especially for a training institution,is that you want to feel free to fail or at least feel free to move so that not everything has to be perfect.

I find the energy in the building was quite different.And I'd applied to other drama schools,which had been a little more imposing and may be that's just my interpretation.I mean,at that age,you are so impressionable,that your nerves and your adrenaline make you very very aware of the energy of the building or the energy of the room,how welcome you feel,how high the steps is that you are being asked to step on to.And sometimes you make that transition easy,sometimes you make that transition hard.Anyway that's part of the test.And here I felt like there is a very welcoming energy.And whatever happens here,it's fine,it's all right.Nothing is wrong,do your best.Not seems to me to be a really good environment to work in,especially for a training institution,is that you want to feel free to fail or at least feel free to move so that not everything has to be perfect.

Because God knows,life is imperfect and there are rough edges.And on your way to becoming good at something,you necessarily have to stumble and bump and fall and pick yourself up and dust yourself off and go again. There's something very special about understanding,when I got the prospectus and I looked to the back.And there were a list of alumni of graduates.And they were essentially all the actors that I ever respected.And they possibly weren't people who were making headlines at the time,but they were people who have made headlines for me,across the course of my life. That was just the list goes on and on and on.And you could pluck names out of a hat from different generations.And there must be something about this place that I could tangibly feel wanted to be part of.

I was so excited to start.It was felt like a beginning of a huge adventure.I have moved to London.It's you are digging in for three years,there were thirty people in your class.I remember the first day,we were all assembled,we were all sat in a circle.And I remember looking around the circle and seeing exactly how the year had been assembled in that no one person was the same. And I thought that was an extraordinarily,intelligent policy,in a way,a policy of making sure that you had different people.And it was almost a melting pot of different talent,and people from different parts of the country with different backgrounds,and family histories and accents.
接rada：We have people who have been to university and done lots of reading of books,and who were a bit older and a bit more life experience,and people who just left school.And tenors and baritones,and people who were beautiful singers and terrible improvising,and people who were brilliant at Shakespeare and appalling at stage fighting.

I mean I think this is the nation and the world leading drama school,as long as you are good if you got some kind of talent,you should be allowed to be here,should'nt be about money.My three years at RADA was completely mad in one way,it was so exciting and such hard work and so illuminating and often frustrating,but only because you coming up against obstacles in yourself,you have been asked to do things that you can't do,and it's always challenging,and it was often hard to explain to people who weren't on the journey with you quite what was going on, but you always have to share the experience. And I found that working with other generations of people,you know,I was in the production in the West End sharing and dressing with three actors who all in their late forties–early fifties,all of human being to RADA,and the RADA they had attended was different from mine.,but we sort of shared bond because we'd all been through something.

今天写的，好难看ww