A Quote by Adrian McKinty
I think the poetry that came out of Belfast, and especially the Queen's University set, in the 1970s and '80s - you know, Paul Muldoon and Seamus Heaney, Derek Mahon and Ciaran Carson - that was probably the finest body of work since the Gaelic renaissance, up there with the work of Yeats and Synge and Lady Gregory.
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The group of writers I had grown up with in the '60s - Derek Mahon, Michael Longley, James Simmons, John Hewitt, Paul Muldoon - formed a very necessary and self-sustaining group.
I would quite like to do something on Ireland about the culture, James Joyce, Yeats, persuade Seamus Heaney to have a chat and do some cooking.
I felt that film (Let It Be) was set up by Paul for Paul. That is one of the main reasons the Beatles ended. I can't speak for George, but I pretty damn well know we got fed up of being sidemen for Paul. After Brian died, that's what happened, that's what began to happen to us. The camera work was set up to show Paul and not anybody else. And that's how I felt about it.
It's a joy to be up close to Derek Jacobi's work. Alas, we haven't worked very much, over the years, since we were at university together, but I don't think I've missed many of his great shows and performances.
I grew up watching my Dad, Uncles Ciaran Murray and Brendan Murray, and cousin, Aedin Murray, who were all national caliber Gaelic football players in Ireland. I try to watch as much Gaelic football as I can, it is my first love. I bleed Green, White, and Orange. Gaelic football players don’t get paid to play, you play to represent your county that is more important than earning money.
He came to the States in 1963, I think with a view to making up with my mother, but that didn't work. He came for three weeks, and drank his way all over Brooklyn. And went back... I went to his funeral in Belfast.
In the 1970s, for example, I found myself learning to relish the poetry of Andrew Marvell and Sir Thomas Wyatt, and getting a handle on poetry of plainer speech than I had dwelt with heretofore. Which led me into a new appreciation of middle [William Butler ] Yeats, of the short three-beat line and forward-driving syntax, and that paid in, in turn, to a poem like Casualty in Field Work. The traffic, however, was usually the other way. My teaching was animated by what I was reading and being excited by as a poet.
I went to Queen's University Belfast and stayed nine months, then I ran away to be an actor.
In my writing, I strive for a lyrical beauty somewhere between Tolkien at his best and Seamus Heaney's translation of Beowulf.
When we left university, in the late '80s, one of the guys had been to the Comedy Store in London, came back very excited and suggested we set up something like it. And so we did.
I can't honestly say where the inspiration for my work came from. I think it came from reading. It came from texts, from Nietzsche, Schopenhauer, it came from, you know, Jean-Paul Sartre. These are the ideas that got me worked up and inspired. It wasn't so much the visual things that inspired me. Although, of course, there were plenty of painters in history that I admired all the way from Brueghel to Goya, to Picasso - because everything visual stimulates me.
Aviation is poetry ... It's the finest kind of moving around, you know, just as poetry is the finest way of using words.
Often it seems that there are writers who are their best selves on the page. That Seamus Heaney was as genuine and deeply admirable in person as in his poems was to me a gift, then as now.
I think I have the finest body of work of any American actor.
I was living in Britain and then America, but it wasn't until I returned to live in Ireland in the late '70s that I really became aware of Seamus Heaney. I discovered quickly that his poems are very accessible.
Still think she is worth it?” Mahon asked quietly. “Of course. She is my mate.” Mahon sighed. “So you decided then.” “Do you think we’d be laying here bleeding in the snow if I wasn’t sure?” “Good point.
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