A Quote by Christopher Meloni
I had great faith in Irish actors, that they'd be hip to the whole theatre thing, and they are. I had no illusions of coming over here as some kind of big shot. It's been a learning experience for me too.
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Virtually all my conscious life I had been involved in theatre - I had been a child actor - but as a young man who had experienced the 1960s, British theatre seemed remote from my aspirations in life - theatre was still a posh thing, a middle-class thing, something for an elite.
I'm Irish as hell: Kelly on one side, Shanley on the other. My father had been born on a farm in the Irish Midlands. He and his brothers had been shepherds there, cattle and sheep, back in the early 1920s. I grew up surrounded by brogues and Irish music, but stayed away from the old country till I was over 40. I just couldn't own being Irish.
I've had some messages from some famous people which have been so unreal that they know who I am. I had support from Paloma Faith, Luke Evans, Stevie van Zandt, Jojo Siwa and Sharon Stone. It was amazing that so many big names had been talking about me.
I was leaving the Belfast court, where I had been called to answer a very flimsy charge, later dismissed. You're relatively safe in such areas in the Irish community, but to go to downtown Belfast for me is dangerous. My appearance in court had been well advertised by the police. I think it was too much of a coincidence that the people who shot me were just passing by.
I had quite a bit of experience doing things that had been adapted from a book and playing real-life characters and playing the younger version of actors. That's kind of my thing.
Rock of the ages been a really interesting job. It's been exhausting. It's been the hardest thing I've ever done because it's just so big, and I haven't had a lot of time. And I'm just kind of blowing through this. And everybody's, like, happy, and giving thumbs up. Most of the actors have said "this is the best role they've ever had." So you know, that's important to me.
With 'Pariah,' at the time, I had just come out. I had a coming out experience, and I was writing about it, transposing my experience as an adult: What would it have been like if I had been a teenager in Brooklyn? The funny thing was people thought I was from Brooklyn. I had to be like, 'No, I'm from Nashville.'
At some point I just acknowledged, at least to myself, that I had a great deal of respect for people of faith. Faith is a strange and wonderful thing. You come up to a kind of wall of unknowing and instead of turning back in despair you leap over it into something else. The Church isn't why I'm a writer, but it's probably a part of it.
My whole life had been spent waiting for an epiphany, a manifestation of God's presence, the kind of transcendent, magical experience that lets you see your place in the big picture. And that is what I had with my first [compost] heap.
I started to respect older actors when I was young and then contemporary actors later on. Then I learned respect for comedy. When I was first doing theatre, I thought of it as just a means to become Sarah Bernhardt or someone like that. But acting with young people has been a great learning experience.
All that day she had had the feeling that she was playing in the theatre with actors better than herself and that her poor playing spoiled the whole thing.
No one would ever cast me as an aristocrat. I think the big thing about being an Irish artist is access to melancholy. Especially the American Irish. The availability of loss, some kind of pain, is an important part of who we are. I think my Irishness gave me that.
When I first started comedy, before I kind of gained any national prominence, I - in a weird way - went back to that. Marc Maron had me on WTF making fun of me about that when I first opened for him. I had this very kind of hip-hop bravado to me, and I realized that now I've let some of that go in my stage presence, that maybe that was because I had dropped that completely from my life, and when I got onstage I sort of rekindled it. And I think now that it was perhaps a defense mechanism that was left over from those days, which I think is kind of interesting.
Everybody's kind of always had a little bit more faith in my shot than me, and I had to work on it overseas and get comfortable with taking it.
While I do not think it was so intended I have always been of the opinion that this turned out to be much the best for me. I had no national experience. What I have ever been able to do has been the result of first learning how to do it. I am not gifted with intuition. I need not only hard work but experience to be ready to solve problems. The Presidents who have gone to Washington without first having held some national office have been at great disadvantage.
I've worked with some absolutely wonderful directors who bring out the best in me and I know I can trust, and then I've had the opposite experience, too. I've had both experiences, and obviously one is good and one is not good. When they're great, it's good. When they're not great, it's not so great.
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