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Sir Ben Kingsley: I had a picture of Anne Frank in my coat pocket. And I would say to
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this picture of this beautiful girl, before takes, "I'm doing this for you." A simple,
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a simple direct line, from me to her. And, um, I was thrilled beyond measure when Robert
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Dornhelm asked me to play Otto in the film, because, because I already loved her, um,
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unequivocably.
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Before I started filming, I was asked to visit Miep Gies, who was the secretary who kept
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them alive. And Miep was in her 90s, and, I remember, um—I am actually quite allergic
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to coffee; it's not very good for me—and Miep, bless her, came into her living room
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in the apartment in Amsterdam with, with this tray of coffee and said, "Would you like some
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coffee?" I said, "I'd love some!" Of course, I was hyperactive and shaky for the rest of
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the afternoon. She was a wonderful woman. I've had the opportunity of, of having dear
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Itzhak Stern's widow, Sophie, on my arm in the last scene of the film [Schindler's List]—that
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was Sophie Stern, on my arm. I had the privilege of meeting Simon [Wiesenthal] and loving him.
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And also Miep. There’s a lovely photograph in our house on the mantelpiece, of myself
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and Miep Gies with this painting of Anne Frank between us, she's, she's there—it's just
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an accident of the photograph—but there she is, smiling, beautiful, photograph of
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Anne.
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And there was, a lovely man, I think he was George, I think he was called George. And,
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he was, there was a knock on my trailer door and my assistant at the time who was looking
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after that movie, said, um, "There's an old friend of Otto Frank's would like to say 'hello'."
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And I was completely in my Otto disguise. My Otto's, my costume, my pencil moustache
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make-up, and lovely, thinning hair, that Otto had, Otto Frank. So I said, "Yeah, I'll go."
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I opened my trailer door, and George went, "There's my friend!" And hugged me and hugged
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me and hugged me. And that direct line—the generosity of people who have lost so much,
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you know, who actually say, "Go on, yes, tell the story." Like Simon watching me, all of
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these extraordinary gestures that help us make something out of nothing. And all the
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research—I have great respect for actors who research and research and research. I
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do very little. I rely on the floating molecule to breathe on, or whatever you want to call
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it, and extraordinary gestures like that. Why did I have that picture in my pocket?
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Why was that picture put on my dressing room table? Why does this man come across Amsterdam
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to walk onto a film set and knock on a trailer door, and then, of all the beautiful gifts,
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he just says, "There's my friend. There, there he is."�
