Saoirse Ronan Quotes
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.
Quotes to Explore
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When you are missing someone, time seems to move slower, and when I'm falling in love with someone, time seems to be moving faster.
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I knew it was called 'Dunkirk,' Christopher Nolan was directing it, and it was a war film. That was all anyone knew.
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I do not need any cheerleaders at my moot court. And I cannot imagine walking into that Court without the preparation of a few vicious moot courts; it is critical to the development of my thinking.
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I'm extremely particular how my look should be in a film.
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The film depends on the audience's belief in this relationship.
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I come from a culture where you don't divide it up to what you can do on TV and what you can do on film.
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That's definitely something I've experienced my whole life - people thinking one thing and then discovering that I'm not, hopefully. So I relate to having to fight that and claim my own identity, when people are trying to throw different ones at me.
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I think it is absolutely essential in a democracy to have competition in the media, a lot of competition, and we seem to be moving away from that.
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Creative thinking inspires ideas. Ideas inspire change.
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I went to drama school in England, and you spend your first year working on the muscles surrounding the vocal mechanisms. You learn how you support it and create characters through your voice so that became an obsession. So I went to Hollywood thinking, 'Oh, I'm going to be one of the great voice-over artists.'
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If I wasn't a film-maker, I'd be a film critic. It's the only thing I'd be qualified to do.
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I remember watching myself on video and being so disappointed with myself because I was constantly moving around the place and laughing. I thought, 'I must be so much louder than I think I am. From inside it feels fine.'
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Everybody has their own answer of what a catch should be. I say, secure the ball; if the ball is not moving, it's a dead ball, simple as that.
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I can remember being at Sandringham, for the first time, at Christmas. And I was worried what to give the Queen as her Christmas present. I was thinking, 'Gosh, what should I give her?'. I thought, 'I'll make her something.' Which could have gone horribly wrong. But I decided to make my granny's recipe of chutney.
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(To someone at New York University) If you consistently take an antagonistic approach, however, people are going to start thinking you're from New York.
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There's no black and white, left and right to me anymore; there's only up and down and down is very close to the ground. And I'm trying to go up without thinking about anything trivial such as politics. They has got nothing to do with it. I'm thinking about the general people and when they get hurt.
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The weapons that were once outside sharpening themselves on war are now indoors there, in the fortress, fragile in glass cases; Why is it (I’m thinking of the careful moulding round the stonework archways) that in this time, such elaborate defences keep things that are no longer (much) worth defending?
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When I painted Christ's parents I was thinking of my own parents. The bearded man is the Child's father. He is my father. Chagall stated this in 1950
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I'm used to American actors who have a movie career thinking television acting is beneath them.
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I think the way I am on stage is probably who I really am. Everything else is a persona. It's an unedited version of who you are. For me there's something pure about that.
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Some were getting married; some were getting divorced. People were in different places, but you had enough time on this earth to actually get somewhere, and I think that's the exciting thing about being 36 and in your mid-30s. You've been somewhere, and you're going to go somewhere. It's fun; it's exciting.
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I pretty much always knew I wanted to be a writer. I was writing goofy stories when I was 7 or 8. That was what I call 'wishful-thinking writing.' I grew up in the city and always wanted a horse, but there was no way I was getting a horse. So I wrote all these stories about kids who had horses. It's still fun entering these other worlds.
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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.
