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 actually funded my training with the money that I owned from television work when I was at Cambridge,which is really satisfying in a way.And I remember feeling really proud of having done the work and then kind of reinvesting it into my craft in a way.That I didn't just blow it on a car or something,not that it was enough for that,but I could have spent more portion or something with my fees.But it was great to have earned some money and to be putting it back.But I know a lot of people in my year were supported and I think that was better because it meant it didn't feel elite or exclusive,it meant the people from any background were acceptable,and legitimate for entry to the place that all you need to get here was talent,which is the really important thing.

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.

I am a buddy,so that means that I have every third years' June,every third year I sign a student to mentor,I suppose.And I am just a phone number any man address,a face with the degree of experience they can just bounce questions at,how do I get an agent,what do I do for an audition tomorrow,how do you prepare for this,how do you process that, how did you feel when you first didn't get something,or this is what I'm hearing from the cast director,what does that mean,or have a choice between these two things,what do you think I should do,and my responses always are–what do you think.Because my understanding so far is–the truth is different from everybody,and everyone's journey through the kind of forest a bit of all is kind of a different one.But it's so nice to be someone that is independent from the school,that is out there in the world that they can call up and say.

RADA暂放一边，来一个我的最爱OLLA访谈(其实是因为这个我背的熟，不用一会一翻视频。。。)：When I first met Jim,all he said to me he wanted to make a film about love,and really it was about two people,two creatures,who were pure spirits.They were Yin and Yang,they were black and white,they were the sun and the moon.And they were very rare sensitive delicate beings who were alive to the gift of human creativity,to the gift of life really.They were so sensitive to the things we've been given,the things of nature and poetry and music and science and philosophy and literature,and love ultimately. And the twist was these two creatures were vampires.And I thought it was just the most amazing inversion of a very popular concept.That somehow in our contemporary culture,vampires are everywhere.

When I first met Jim,he said"Tom,Adam is basically Hamlet as played by Sy Barrette."And I thought it was one of the most greatest description of a character I have ever heard.And I understood it immediately.He is a melancholy sad poetic sensitive soul inside the body of a rock star.He was turned into a vampire around the early 16 century～late 17 century.We decide it,so he live through in the romantic era. And in a way,he is a kind of contemporary rock star with a soul of a romantic poet.For the last 500 years,Adam has been a part of a movement in the progression of music and science.That's where he is hearted.But he is also a vampire,so he is of normal things of alive.

They've been incarnations of our sublimated desires,they've been sort of embodiment of our sexuality,of our feral animalism.Vampires are the living dead.They are closed to wolves and bats and beastes than humans.And they live off blood,and they have fangs,there are all of these things.And Jim was taking something that was very popular,and making his own.And making these vampires,Adam and Eve,he was basically making them artists.Adam had a special deal with the local hospital where he gets clean pure type O–negative blood.And he smuggles it in,he smuggles into his life.So he did it precisely because he doesn't want to destroy people,he doesn't want to kill,to bite.Yeah,I have been saying to my family he's like a vegetarian vampire

今天写的，好难看ww

楼主能说下 这两个演讲名词么，方便搜索视频