A Quote by Ian McElhinney
With 'Stones is His Pockets' you have effectively a bare stage with two actors and yet a whole world in rural Ireland is created. There's the countryside, the bar interior, the dressing room and the star's bedroom.
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Ireland was an idyllic place for us as children. We had all these cousins and all this green countryside. Given what I've written about rural Ireland, my memories of it are all blue skies and endless play.
East Hampton happens to have been the first place in the world where I was a star, a real star with a star pasted above my name on the dressing-room door.
Look, we're all the same; a man is a fourteen-room house - in the bedroom he's asleep with his intelligent wife, in the living-room he's rolling around with some bare ass girl, in the library he's paying his taxes, in the yard he's raising tomatoes and in the cellar he's making a bomb to blow it all up.
I was filming a movie in London, and I drove through Ireland. It was quite beautiful, and the countryside was really remarkable. The contrast between the countryside and Ireland, and the murals there, with Northern Ireland still being a part of the United Kingdom, there's just a stark contrast in those two things. And I found that the art that came out of the conflict was really spectacular because it was about remembering either events or points of view for local neighborhoods, or the rallying cries of one side against the other.
I am from the countryside, very rural countryside, and I moved to Tokyo when I was 18 and have been living first-ever since. So yes, I am a city guy, but sometimes I sort of feel there's another me in a parallel world, still in the countryside.
There are two kinds of actors -- one sits in a dressing room waiting for his call and the other gets out into the business and polishes his craft by absorbing everything. I don't know enough, I'll never learn everything I need to learn. When a guy thinks he's already learned it, he can only go backwards.
[Leonardo DiCaprio] invited me into his dressing room, and then we went into his hotel room where we stayed. We shared caramel popcorn. I think that was the coolest thing, sharing popcorn with this movie star. And then we wrestled! I always share that story with people.
If you want a measure of how private a place the dressing room was when I was growing up at Manchester United, consider this: even Sir Alex Ferguson would knock before coming into the dressing room at the Cliff, the old training ground. The dressing room is for the players - and the players only.
It's like, I don't think you understand, Michael Jackson's bedroom is two stories and it has, like, three bathrooms and this and that. So, when I slept in his bedroom, yes, but you understand the whole scenario.
I used to work over a bar. That was - there was no stage. I stood over a tiny bar. Louis Prima, rest his soul, he worked there. I was the guy that filled in when he was off the stage.
When I did 'Racing Demon' by David Hare, I worked with Paul Giamatti, who had stacks of books in his dressing room. I was offstage a lot, so I would go read in his room. He was reading a four-part series on the Byzantine Empire by Alexander A. Vasiliev. I read two of those during the run of the play.
I have been on stage on a few occasions where I felt I couldn't escape the interior of my - my interior thoughts. But Peter Wolf once said, what's the strangest thing you can do on stage? Think about what you're doing.
I keep saying, and I've said it to the players, what happens in a dressing room stays in a dressing room, whether that's with me and a player, whether it's two players together, whether it's the coaching staff and the players. I just think it's almost a sacred environment and that trust in that area is unbreakable.
I've come from a working class background in South Wales with eight of us in a three bedroom house. Four boys in one bed, two sisters in the other bedroom and mum and dad in the box room.
We went on stage with the Jefferson Airplane, Jim started singing with Grace Slick and hugging her. Then he danced off the stage, went back into the dressing room and passed out cold.
My father was a creature of the archaic world, really. He would have been entirely at home in a Gaelic hill-fort. His side of the family, and the houses I associate with his side of the family, belonged to a traditional rural Ireland.
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