Top 55 Quotes & Sayings by Ciaran Hinds
Explore popular quotes and sayings by an Irish actor Ciaran Hinds.
Last updated on September 17, 2024.
Grief is exhausting. When you learn - maybe through my age or experience - trying to harness the energy, whatever it is, muted energy or a concentration to find yourself in a place? You try to use it for when it's really necessary and can arrive.
No nation can claim, 'We are an uncorrupt nation, therefore we will tell you what the morals of democracy are.'
To be quite honest. I have seen a few things in 3D, and it didn't involve me anymore than when I saw something in 2D.
When I was young I read 'L'Etranger' by Camus, and it made me aware of the strangeness of life.
I don't use the word 'artists' lightly.
We've seen a lot of dirty politics in Ireland.
Casting is very, very important.
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.
I'd never really been in a series, where you see a man at different points and perspectives in his life. Usually it's a film, where I'm playing a character who just comes in and offers something up.
That's why Tennessee Williams was a great writer. Poetically, dramatically, it was fantastic stuff. And with the landscape, the losers in life populating it. His short stories have got rhythm, something musical about them.
When you find somebody who doesn't give and take, you go, 'Remind me never to work with you again.'
I know I don't go looking for directors. I always wonder why they chose me.
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.
My feet always danced to Irish traditional music, but I was very glad to get out of the North of Ireland in the mid-Seventies when it was really closed and tight and relentlessly unforgiving.
When a play is really cooking, there's nothing like it.
Sometimes, there's not an honest engagement of Ireland in Hollywood movies.
My soul is still Irish.
You get to an age when you lose people close to you.
In good comedy, the structure comes from truth and that weird eye that looks at the way life is.
I do believe as human beings we are a great mass of contradictions.
I never saw myself as being a cop on TV.
Most of the work that I have done for the American Hollywood things have not been in Hollywood. The studios are going out in Europe or around the place working.
I've got a wonky nose. Is it classical, is it not? That's what's hard work, getting down into the nitty-gritty of who are the human beings behind the front of what they present?
I never saw myself as being a cop on TV. I come from theatre, and I always go back every couple of years.
For all the acting you can do, the actual soul of someone does somehow permeate through their work.
My father was a GP; my mother was a teacher and amateur actress. My father was a bit of a storyteller, but the acting influence must have been from her - yes, put it down to my mother.
I'll tell you, being on set on 'Harry Potter' was nerve-wracking. It was surreal to be in a room with those three kids, all of whom know exactly what they're doing.
It's so tough to get movies made in Ireland anymore. A whole generation of Irish filmmakers doesn't have the resources to get a movie made.
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.
I'd love to get into some comedy, but people keep saying, 'You're not funny!' And I say, 'Well, fair enough.' I have done comedy on stage.
I've got a fairly low profile - I go and do me shopping when I need to!
I don't have a motorcar, so I've got to know and be fairly fond of the buses.
I float from one project to another project, so you miss people and you don't see them for years.
I'm not a comic person at all. It never reached me in the north of Ireland, in the '60s and '70s growing up. We used to get stupid comics like 'The Topper' and 'The Beezer,' things like that.
I've never traveled to promote anything I've been in. I've only been to about two or three premieres. The way I work, I do bits, and then I'm off to something else, whether it's theater or another project.
The joy of just being involved in something, of being part of a big process, just as a human being, it's nice to be part of people who are in the same enterprise, heading for the same goal, rather than, 'Oh this is all about me and my role. The story's about me.'
If you're venturing into territory that is slightly operatic, it all has to be done so carefully.
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.
I come from theatre and I always go back every couple of years.
Stuntwork... once, I've really only done one thing, which is take a punch and transport myself into the air onto a mat.
Grief is exhausting.
I don't hold much of care for 3D. I think it's a passing fad. It came and went in the '60s. I don't see what it adds to the story.
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.
If all you've got to do is a couple of lines, dear Jesus, don't let them down. Other people are taking responsibility.
Then you realize that the preparation and the planning of this small army of people trying to head to the single aim of creating a work that's going to excite people is very risky. Of course, the odds are that it's not going to work out because there are too many possibilities of it going wrong.
I'm not a comic person at all.
I'm looking forward to locking swords with Douglas Henshall and working against the stunning backdrop of Shetland. I came to Scotland a lot in the '70s and '80s in various theatre productions and of course to film Hallam Foe but this is the furthest I've ever been.
In fact, most of the work that I have done for the American Hollywood things have not been in Hollywood. The studios are going out in Europe or around the place working.
In fact, the difference between creative and interpretive, it all starts with the writing. Then if you can get the money together to make the film, then you're in touch with the visuals and the actual creation, and the sound of what you want to mean. Of course, some directors get inspired by what people do anyway. Don't feel the need [to stick to the script]. In fact, they sometimes go "That's not what I had in mind, but that suits the purpose well.".
We've seen a lot of dirty politics in Ireland. We know from the French, their wonderfully neurotic presidents, that our hands are sort of tied. The Italians - I don't know where it stops. No nation can claim "We are an uncorrupt nation, therefore we will tell you what the morals of democracy are." Because it's going on everywhere.
The freedom to make my own mistakes is all I've ever wanted
I quite enjoy more teamwork and offering something up into the mix.
There has to be a reason of whether you look right or you bring the emotional or intellectual baggage of what's required for the storytelling. For me, it's not something I've aspired to say, "I'm going to be working in Hollywood."
Conflict sometimes produces results, but more often than not it produces confusion at the level of everybody on the same track.
I know I don't go looking for directors.
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