I would say the next imminent hot writers are often the writers from the decade before you were born.

Irish people are educated not only about artistry but local history.

Acting doesn't have to be threadbare misery all the time.

I would say the next imminent hot writers are often the writers from the decade before you were born.

To be honest I live among the English and have always found them to be very honest in their business dealings. They are noble, hard-working and anxious to do the right thing. But joy eludes them, they lack the joy that the Irish have.

A lot of Irish people perform. They perform in drawing rooms. They sing songs and they play piano.

Theater is dangerously open to repetition. It's exciting when you hit on a new way.

My mother taught me to read.

The word democracy has no meaning. Duty has gone. Only rights remain.

People who are good at film have a relationship with the camera.

Theater dates very quickly.

I think America becomes more disgruntled by going to the movies and having an endlessly good time at them.

There once was a demographic survey done to determine if money was connected to happiness and Ireland was the only place where this did not turn out to be true.

I certainly had no intention of playing a man.

I can hardly decide what plays I should be in.

Once you've done one style, you leave it for a while.

I would love to write the story of my upbringing in Ireland.

I just think that things should be allowed to run their course, and not turned into a Disney ride.

Every generation is obsessed with the decade before they were born.

So I just play the character, I play the lines.

I take the theater seriously in that I loathe it, I'm bored by it.

The energy released by it is enormous and it becomes quite addictive, the power between the audience and the actor.

I had a ball doing Harry Potter.

Also, an area that interests me - and it will probably take years to state what I mean - is the period of the rise of democracy, with Tom Paine, which is around the turn of the 18th century into the 19th.

The Americans are very clear, and obsessed with nouns.

This whole tribal loyalty seems to have gone.

One moment cannot be the most important.

Even when they have nothing, the Irish emit a kind of happiness, a joy.

I find it incredibly tedious, hate that it murders itself with its own conservative pomposity.

There is a great relief in experiencing the worst vicariously.

There was no professional theater in Cork, but still I did a lot of performing.

There's something about the Irish that is remarkable.

For a country to have a great writer is like having another government. That's why no regime has ever loved great writers, only minor ones.

I belong to a specific category of writers, those who speak and write in a language different from that of their parents.

I think ethnic and regional labels are insulting to writers and really put restrictions on them. People don't think your work is quite as universal.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

It is certain, indeed, that the sacred writers were apt to make great allowances for people with empty stomachs, and though I am well aware that the present profane ones think this very reprehensible, I venture to agree with the sacred writers.

I have always noticed that in portraits of really great writers the mouth is always firmly closed.

Our job as writers and thinkers in the time is how to bring about the occasions that let people have that first-person experience - or the metaphoric experience that allows them to see human continuity as opposed to total threat, total willingness to do violence.

That has to remain the principal reason for doing it, doesn't it? I know it's possible to write for money, and many very good writers have done so. But for me, it has to remain the principal thing that I actually want to do the writing.

You need the words, you need the script, you need the material, you need the commitment, you need the passion, it's like we depend on writers, we depend on producers, directors depend on us and once things are in the divine order as they happen.

Apart from a few simple principles, the sound and rhythm of English prose seem to me matters where both writers and readers should trust not so much to rules as to their ears.

Remember Graham Green's dictum that childhood is the bank balance of the writer? I think that all writers feel alienated. Most of us go back to an alienated childhood in some way or another. I know that I do.

A writer should get as much education as possible, but just going to school is not enough; if it were, all owners of doctorates would be inspired writers.

There's a certain possessiveness of writers sometimes.

Writers are too neurotic to ever be happy.

I was notified on July 17 to be ready to start August 7 for an October air date. When we reached the screen we did not have a single segment ready. It was done so fast the writers never got a chance to know what it was all about.

There are some fine books and essays about that. Lewis Hyde has written about alcoholism and poets and the role that society gives its writers - encouraging them to die.

What makes me furious, not just because we're in an interview, but I don't like when writers take your words and put them somewhere else, in the wrong context in their own article about you.