My soul is still Irish.
When you find somebody who doesn't give and take, you go, 'Remind me never to work with you again.'
I float from one project to another project, so you miss people and you don't see them for years.
I've worked a lot with Noah Baumbach, and he doesn't make it easy to like his characters, but the stories are funny and witty and there's an edge to that kind of humanity.
You know, Christianity has its own superstition anyway: Why you turn three times, what this saint means, why you pray to the patron saint of lost causes, why you go this way or that way.
When I was young I read 'L'Etranger' by Camus, and it made me aware of the strangeness of life.
I don't think I'm very fashionable. I drink a fair amount of Barry's Tea, from Cork - but might that be fashionable? I don't know.
I don't use the word 'artists' lightly.
Casting is very, very important.
For all the acting you can do, the actual soul of someone does somehow permeate through their work.
Grief is exhausting.
In good comedy, the structure comes from truth and that weird eye that looks at the way life is.
Stuntwork... once, I've really only done one thing, which is take a punch and transport myself into the air onto a mat.
You try to work with the director and your fellow actors to get somewhere, but other people are the judge of whether you hit that note right.
Christianity has its own superstition, anyway: Why you turn three times, what this saint means, why you pray to the patron saint of lost causes, why you go this way or that way.
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