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 grew up my whole life in Ireland and obviously sound very, very Irish. I feel like it's just one of those things that just charms the socks off of people.

I don't feel isolated on a film set. In a way you do because you don't really mix with the outside world; you're just sort of working non-stop for a few months, but you've got so many people around you.

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

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

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.