Kenneth Branagh Quotes
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Probably 90 percent of the stuff I make has inevitably been done before... Whether it's playing Hamlet, which has been on the go for 400 years, or pieces from the cinematic world that also have been essayed before, I feel released by that.
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In any given project, there are a few moments where there is the usual disappointment, as it were, when you look in the mirror, and you realize you're not 23 and looking like Brad Pitt.
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How many times do you read about 'the Cinderella story,' the story of the underdog, the story of the ordinary human being, often subjected to cruelty and ignorance and neglect, who somehow triumphs?
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Variety is very, very good. Going from medium to medium, if you get the chance to do it, from theater to television to film, which are all distinctly different, keeps me sharp.
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I like to cast actors I admire, one's that are talented. Each one will bring something new to the part. This play has been done thousands of times and now certain characters are too familiar.
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It's funny to be in rooms where you were originally referred to as 'The Shakespeare Guy' and to suddenly be in the position where you're 'The Blockbuster Guy.' That's a pretty unusual turnabout, I must say.
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I've lived a lot of my life in London, so I often feel that I am a Londoner.
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Life is surreal and beautiful.
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I'm interested in creating new work.
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If you've done a brilliant version it becomes something else.
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I don't think Hamlet is mad, nor is he predisposed to be a gloomy or tragic figure.
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I'm a devotee of Stephen Sondheim. I think he's a genius.
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I've always loved the Bond films.
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I think television goes through phases, like other creative arts, where suddenly a group of people are producing exciting work all at once.
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A creative and artistic home is what I've been looking for in the theatre.
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I think A Midsummer Night's Dream would be terrific because of the transformations that occur. Or The Tempest, things like that. Extraordinary larger than life or supernatural element.
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I would say my voice is actor-neutral.
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I read the final Wallander novel, 'The Troubled Man,' not long after it was published.
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I did 'Love's Labour's Lost' in the theater and found it to be riotously funny.
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I was stuck in a wheelchair playing this deranged villain. I felt this mass amount of rage at being so confined. I thought, 'What can I do that is the direct opposite of this situation?' The only thing I could think of was that I could sing and dance.
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My experience of great storytelling, working with classics, is just finding a way to present it simply but let the story do its own work, or be an invite to the audience's imagination.
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We're self obsessed and mad and stupid - not that other people can't be the same way - but the extremes are kind of honest in some mad way. Anyway, I like them.
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Being Irish, I always had this love of words.
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In the case of 'Jack Ryan,' it was a huge collaboration, and I enjoyed it very much, and most of all, I want the audience to enjoy it, too. I want them to feel immersed in this world.