Ciaran Hinds Quotes

In fact, the difference between creative and interpretive, it all starts with the writing. Then if you can get the money together to make the film, then you're in touch with the visuals and the actual creation, and the sound of what you want to mean. Of course, some directors get inspired by what people do anyway. Don't feel the need [to stick to the script]. In fact, they sometimes go "That's not what I had in mind, but that suits the purpose well.".

I'm not a comic person at all.

The freedom to make my own mistakes is all I've ever wanted

There has to be a reason of whether you look right or you bring the emotional or intellectual baggage of what's required for the storytelling. For me, it's not something I've aspired to say, "I'm going to be working in Hollywood."

We've seen a lot of dirty politics in Ireland. We know from the French, their wonderfully neurotic presidents, that our hands are sort of tied. The Italians - I don't know where it stops. No nation can claim "We are an uncorrupt nation, therefore we will tell you what the morals of democracy are." Because it's going on everywhere.

You get to an age when you lose people close to you.

If all you've got to do is a couple of lines, dear Jesus, don't let them down. Other people are taking responsibility.

I know I don't go looking for directors.

I don't use the word 'artists' lightly.

You know, Christianity has its own superstition anyway: Why you turn three times, what this saint means, why you pray to the patron saint of lost causes, why you go this way or that way.

Casting is very, very important.

In good comedy, the structure comes from truth and that weird eye that looks at the way life is.

Conflict sometimes produces results, but more often than not it produces confusion at the level of everybody on the same track.

I've worked a lot with Noah Baumbach, and he doesn't make it easy to like his characters, but the stories are funny and witty and there's an edge to that kind of humanity.

In fact, most of the work that I have done for the American Hollywood things have not been in Hollywood. The studios are going out in Europe or around the place working.

Then you realize that the preparation and the planning of this small army of people trying to head to the single aim of creating a work that's going to excite people is very risky. Of course, the odds are that it's not going to work out because there are too many possibilities of it going wrong.

I quite enjoy more teamwork and offering something up into the mix.

I float from one project to another project, so you miss people and you don't see them for years.

I'm looking forward to locking swords with Douglas Henshall and working against the stunning backdrop of Shetland. I came to Scotland a lot in the '70s and '80s in various theatre productions and of course to film Hallam Foe but this is the furthest I've ever been.