A Quote by Dylan Moran

Idioms are a big thing in Ireland. They want to fill the time, to show how good they are at talk - it's a talk-off — © Dylan Moran
Idioms are a big thing in Ireland. They want to fill the time, to show how good they are at talk - it's a talk-off
When I talk football with my friends, I don't talk about Tom Brady's hair. I talk about how he handles the blitz, or how he runs his offense. I talk as a fan. I don't want pink jerseys, and I don't want dumbed-down content. I want to be treated as a real fan - because I am proud to be one.
Every performer I talk to will, with different words, talk about the sanctity of a good standup show, how it can really feel spiritual. When everybody is laughing, fixed on the same thing, you feel like you transcend yourself.
I'm not good at small talk; I'm not good at big talk; and medium talk just doesn't come up.
To make the bloody thing talk the way I do when I'm on a verbal roll, in my idioms and rhythms.
You do not want to talk to me on the phone. How do I know? Because I don't want to talk to you on the phone. Nothing personal, I just can't stand the thing. I find it intrusive and somehow presumptuous. It sounds off insolently whenever it chooses and expects me to drop whatever I'm doing and, well, engage. With others!
It's one thing to have forced time off as an actor, and another thing when you actually say, 'I don't want to read anything, and I don't want to talk to anybody.'
I've actually taken meetings about hosting a late-night talk show. I don't know that what we know as a late-night talk show is what I want. But I've been talked into a talk show, but it would be different.
I want to show off how big I am; I want to show off my long arms, my big hands - just loving myself.
Some athletes feel they have to show they're confident and talk about what they're going to achieve. I don't think there's anything wrong with just quietly believing in yourself and just getting on with it. You don't have to talk about it all the time; you want your performances to show for it.
I was on 'Melrose' at a time where we had to all go home and be there at the same time when the show was on, or set your VCR. But that was a big thing, and people of my generation still talk about that. They remember where they were, at what point of their lives that show came, and then talking about it the next day.
I think circumstance plays a big part in terms of what I do. For example, if I wasn't ever able to show in an art gallery I probably wouldn't really make very much sculpture. But I've had the opportunity to show in big spaces, so I want to fill up that space in the same way you might want to fill up a page.
I wouldn't want to be a talk show host. That's another awkward compliment people make. 'You should have your own talk show.' And I think, no thank you.
I did a live late-night talk show called 'Creation Nation' with friends of mine. I had a sidekick and a band, and I wrote the whole thing. And it had the form of a late-night talk show, but we did it on stage because no one was giving me a TV show at the time.
In the U.K. and Ireland, crowd-work is a big thing. It shows you how funny someone would be if you met them off-stage. Americans don't care if you're funny off-stage. They want to see the writing; they want to see the work you did.
You can talk about things indirectly, but if you want to talk how people really talk, you have to talk R-rated. I mean I've got three incredibly intelligent daughters, but when you get mad, you get mad and you talk like people talk. When a normal 17-year-old girl storms out of the house or 15-year-old boy is mad at his mom or dad, they're not talking the way people talk on TV. Unless it's cable.
Some directors hand over portions of their movie to their head of department to the point where it's like, "I'm not going to talk to you about the costumes, but I'm going to let you talk to the expert." Rather than, "You want to talk stitching, let's talk stitching. You want to talk grade of leather? Let's."
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