Saoirse Ronan Quotes

I like to get far away from myself when I'm acting.

I will always have a child in me. That is what Pete Jackson has got, what a lot of the directors I have worked with have. It is about knowing how to have fun and that is something I always want to hold on to.

We grew up with a camera in front of us.

I've always been quite an active person especially when I was younger. When I was in primary school, I used to play lots of sports. I was a sprinter and I did basketball and swimming and Gaelic football and things like that. So I always thought, I guess, that it would be fun to incorporate that much physical activity and work into a dramatic piece.

Sometimes the director will want you to write about the character, sometimes he'll want you to live in the location that the character is from or something like that, but I don't usually make a lot of notes or anything like that.

I don't think you could get anything worse than losing a child. I think if my child died, I would prefer it if I were dead.

I don't know what kind of swag I'd get if I were extra Irish. It would just be, like, extra potatoes. Or like a free pint of Guinness.

It's too distracting to read about yourself. You want to be perfect and you want everyone to love you, and that's never going to happen.

I've always wanted to act and I grew up a little on film sets when my dad was working as an actor.

I listen to everything. I love The Chemical Brothers.

My name means freedom in Irish.

I've been dealing with so much press for Brooklyn, and now I am rehearsing for a play, and it is hard.

I don't look at rushes, or I don't go to the dailies. I don't even really look at playback unless it's an action scene or a move that I need to do better, something like that.

I think if my child died I would prefer it if I were dead.

There are a lot of people who say, 'Yeah yeah, I'm a feminist,' and they're not, actually. I wouldn't want to throw that word around, because it's a very strong thing.

I wouldn't go down the route of having an assistant. I don't want to be like that. I want to be normal.

I really want to go to college.

Ivo van Hove is directing The Crucible, and rehearses in quite an unusual way. We started rehearsals last week and dived straight into the first act, like, five minutes after we all turned up. No warm-ups. We were very intensely immersed in that whole world on day one. It was quite surreal because I've never done any theater before.

Lindsay Lohan was the 'It' girl from, like, 14. That's a lot of pressure.

I think I do believe in the afterlife; I have heard stories from people who I can completely trust that have seen ghosts.

I think when you get on with the actors that you're working with, even if you do have really intimate scenes, as long as you get on well, and have a bit of a laugh while doing it, then it's fine.

Joe Wright was almost like a teacher, to be firm with me, that really stuck with me. And that helped me as I've gotten older.

I've grown up with my parents' music tastes, listening to Fleetwood Mac and the Rolling Stones.

The written word can be powerful and beautiful - but films transport us to another place in a way that even the most evocative words never can.

My whole life I try to make into a comedy, so it would be nice to see that onscreen.

I know most of the photographers in Ireland. And if I don't want my photograph taken, they will leave me alone.

I appreciate the written word and spoken word more, but Atonement sort of established so much of me. It was a character that didn't really speak, and I found that a lot of the roles I was gravitating toward after that were kind of nonverbal.

I'm Irish, so I'm messing all the time. Which means, I'm having a laugh. I'm always making jokes.

Acting is one of these things that I can't really describe - it's just like, why do you love your mum and dad? You know, you just do.

The majority of teenagers don't even make eye contact with people, even people of the same age.

I'm all right, not as good as my mom is. Maybe because I don't have kids.

Learning is the most important thing, no mater how you do it, or where you do it, or who you do it with.

I would never want to move to L.A.

I try as best as I can to have a normal life. People recognise you, of course, and that's very strange. But I sort of leave my working life behind when I go home. That's my other world.

I think 'Twilight' was such a phenomenon that it will be a while before anything like that will happen again. Cause it really influenced pop culture, and the stars of it - well, the people who became stars out of it - their lives were completely changed.

I saw 'Clueless' probably when I was about 8 or 9 years old. And, I had certain films that I would fall asleep so it was 'Clueless' for quite a long time, and I used to just watch it every single night and knew every single line, every single quote.

We've done a lot of films now about the IRA, we can move on from all that. I loved '71 because I think it showed a very honest trail and what it was actually like. It wasn't one-sided. I really respect ['71 director] Yann [Demange] for what he did. But we have done a lot of those things.

I like my characters to be ones I think about long after I've finished reading the script.

If I'm in the middle of a take and I start to think about what I'm doing, I just mess up and I have to stop and so I find that for me, you really need to trust your instinct.

Once you move away from home, it's never quite the same again. You expect everything to be just as you left it, and it never is. It's almost the first step into adulthood, realising you've got to make your own way.

I'm very much for strengthening our industry at home. It's great now there's a lot of work happening but I think with Irish film in particular, the views were starting to get a little stereotypical and we were pigeonholing ourselves a little bit. We needed to get out of that.

For me, clothes are about individuality. When I wear things that are different and it works, it makes me feel good.

There's so many modern films where the fans take one side or the other. I'm hoping this isn't going to be like that; I'm hoping it isn't that kind of film at all. What I would love for the audience to take from it is to understand why she was so stuck in the middle and confused.

When I was younger and in primary school, I'd do maybe a film a year, and I had to adapt to being away from everyone for a couple of months.

When I was younger, I was very athletic and I always loved sports and physical things.

I like books that are exciting and that make you think about things, as well. I like things that have a twist - like 'Atonement,' which I haven't read obviously, as I'm a bit young.

I remember being on Atonement and it felt very right to be there. There was so much excitement every day. I remember very vividly how it felt to be a child on a film set, and that is actually really important to hold on to for as long as you continue to make films.

I was 12 and I remember every­thing. I mean, I had done two films before that. The first was actually with Amy Heckerling. It was so brilliant to work with her on my first film. Atonement was the third one I'd done, and I remember how it felt to arrive on set every day. I remember how it felt to get my wig off at the end of the day. I remember how hot it was.