I usually read a script from an audience perspective first, and then look more closely at the character only.

I do go back to Ireland, and I'll probably be doing a film in Ireland in January, and I guess that kind of keeps me classified as 'the Irish actor,' but the last four or five projects that I've been in are either American or English, so I don't feel terribly trapped in that. But sometimes, yeah, you would like to not be called 'the Irish actor.' You'd prefer to just be called 'the actor.'

You never know when the publicity people will feel it is a good time to release the film.

Even in drama, I like to try to find the humor because I think it's very human. Even in the depths of dreadful situations, there's usually something rather comic, or something you can laugh about afterwards, at least.

The digital revolution has changed the way we do things because you're not under that pressure that film is precious and film is expensive.

There are so many burning issues to be dealt with that it's completely understandable and natural that a character is struggling with these issues themselves. In that struggle, you inform the audience. The thing about this writing is that it's very easy to learn. Good writing always is.

If you're playing a historical character that's in the public consciousness, then obviously you've got to make an effort to look like that person and there's a huge amount of historical record there that you have to kind of comply to.