A Quote by Killian Scott
Broadchurch' was very naturalistically shot, in many respects, whereas 'Dublin Murders' has a slightly heightened element cinematically, because there is a supernatural, ominous quality - particularly in the woods.
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Everyone knows everyone because we've all worked in theatre. All of our 'Dublin Murders' crew came from 'Game of Thrones'. Also, we only drink in two pubs in Dublin, so we always bump into each other.
The woods always look different at night...as if the daytime trees and flowers and stones had gone to bed and sent slightly more ominous versions of themselves to take their places.
I don't know why 'Midsomer Murders' is so popular; I've asked this many times and I've asked the Germans particularly because I've become very fond of them, to be honest. And they say it's the irony, the sense of humour and so on.
I don't particularly enjoy watching films in 3D because I think that a well-shot and well-projected film has a very three-dimensional quality to it, so I'm somewhat sceptical of the technology.
What is particularly intriguing, in fact, is that whereas many peoples tend to locate this experience (of the sacred) in certain unusual, if not 'supernatural' moments and circumstances . . . the Oriental focus is upon mystery in the most obvious, ordinary, mundane-the most natural-situations of life.
That's just me wanting that supernatural tool to tell a story and also not wanting to be restricted by reality, with how we're telling a tale, because we are a heightened reality on Hannibal. There is a larger-than-life quality to the storytelling when it gets into particulars. I like the idea of being able to dismiss reality, depending on if we can sell it as part of the story.
When you cut from a long shot to a close shot, you're doing it for a reason, or if you let something stay in long shot for a long take. On the short films, I was teaching myself how to express something personal cinematically, how to use the language of film the best I could.
Way over half the murders committed in this country are by close friends or relatives of the deceased. A gun makes a loud and satisfying noise in a moment of passion and requires no agility and very little strength. How many murders wouldn't happen, if they all had to use hammers and knives?
My dad moved to London in his early 20s and didn't really go back. So the irony is I've spent lots and lots of time in Ireland, but not with my dad. I've shot films in Belfast, where he's from. And I've shot in Dun Laoghaire. Which is great. And I've shot in Dublin.
The papers are full of murders -- strange murders. It is all nonsense that there are as many brains as there are men; mankind has only one intellect, and it is beginning to get muddled.
'The Interceptor' has an excitement and grittiness to it, but it's also very entertaining. It lives in this sphere of a slightly heightened reality where, although you completely identify and recognise all the characters in it, they're fun and exciting to watch.
Broadchurch' is shot through with the fear of being a parent: what's the most horrific loss you can imagine and how could you go on living afterwards?
But one of the most fantastic things about Ireland and Dublin is that the pubs are like Paris and the cafe culture. And Dublin, in many ways, is a pub culture.
If you've seen 'Hustle' before, 'Hustle' is kind of like one degree over reality. It's always heightened, which makes it fun to watch in the way that they play it, in the way that stories are, even the way that it's shot - the camerawork is heightened and it's meant to do that.
I have never doubted the importance of melody. I like melody very much, and I consider it the most important element in music, and I labour many years on the improvement of its quality in my compositions.
I am always slightly mystified by the whole 'Snow White' story. What are the chances of coming across that many diminutive men living in one house in the woods?
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