Joseph Fiennes
![Joseph Fiennes](/assets/img/authors/joseph-fiennes.jpg)
Joseph Fiennes
Joseph Alberic Twisleton-Wykeham-Fiennesis an English film and stage actor known for his portrayals of William Shakespeare in Shakespeare in Love, for which he was nominated for the BAFTA Award for Best Actor in a Leading Role and the Screen Actors Guild Award for Outstanding Performance by a Male Actor in a Leading Role, Sir Robert Dudley in Elizabeth, Commisar Danilov in Enemy at the Gates, and Monsignor Timothy Howard in the second season of the TV series American Horror Story...
NationalityBritish
ProfessionActor
Date of Birth27 May 1970
I think all experience is, in some way, shape or form, filtered down to help you, in your present moment. With Shakespeare, you're trying to act with a fairly archaic language, although in certain aspects, it's deeply modern.
It's all about human condition, ultimately. That's what you're looking at. You're also looking to have some fun, as well, because that also translates. Maybe wearing tights once in awhile helped. Getting up on a horse a couple of times before might have helped.
A large part of how an actor works and their process is the stimulation of what's around you, and none more so than in a period piece. This is a modern piece, as much as it is set in a different time, age and myth. If it wasn't relevant, it wouldn't have been made and we wouldn't be putting our energy into it. It's relevant for us today because, in some ways, it throws up a mirror to all of us. As an actor, you get stimulus and you're effected by that, whether it's costumes or funny beards or castles.
he challenge is finding the modern conduit for the audience, having fun and really looking at the duality of this particular character, that is both devil and angel, and on the cusp of losing control of the pagan background, to this newfangled religion called Christianity. There's a great backdrop there, and just a whole dark side with the magic.
'How do you balance the creative with the biblical?' One could pick up the scripture and read it to oneself and you would be communing directly with that information. As soon as you go into film, as soon as there's a camera, and there's an angle, and there's lighting, and there's editing, you're into the adaptation.
I wanted to say, "Hey, Pope Francis," but I cried like a baby. I was reduced to a very humble set of feelings, because it was not about what was said: There's a presence. That was a blessing for myself and my family and everyone there to be a part of that.
I'm a huge admirer of Pope Francis and everything he stands for. I think he's an incredibly connected spiritual and authentic being.
Conditioning can be not a big heavy thing. (For instance:) I've got a brand new pair of shoes, by mistake you step on it and you make them muddy and dirty, I'm conditioned to go "Hey, what are you doing?" That's my conditioning, I have a response. So, maybe we have to learn to find the pause before we react, because reaction is our conditioning.
I think religion might throw up a kind of resistance, but I think if one talks about conditioning we can all kind of understand that.
When I was offered the part in Shakespeare In Love a voice in my head said 'not another tights role!
I love life. I'm fascinated by human behavior because that feeds back into my work.
I've always believed that you shouldn't want to mend a broken heart, because that's someone you don't want to forget. Scars can be good.
Maybe we need more dialogue in terms of our faith, in terms of those who are believers, or even nonbelievers, about that aspect, and what that might mean if you were interpreting. You don't have to believe it; maybe you could draw a metaphor from it.
There is a bit of me if I'm pushed in one way I might bounce back and go the opposite.