A Quote by Saoirse Ronan
I certainly don't feel like I am desperate to run away from a film set. I love the hustle and bustle. Everything is sort of mad right before a take, and then it just settles, and you've got these two minutes of a bit of magic. I just love that in film.
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When two people meet and fall in love, there's a sudden rush of magic. Magic is just naturally present then. We tend to feed on that gratuitous magic without striving to make any more. One day we wake up and find that the magic is gone. We hustle to get it back, but by then it's usually too late, we've used it up. What we have to do is work like hell at making additional magic right from the start. It's hard work, but if we can remember to do it, we greatly improve our chances of making love stay.
I'll say initially acting was my first love, and that's what I pursued. But then, so far as even my first day on a film set, and just watching how things were set up, I just said, 'I think I want to be in charge.' I am very much type-A. I am a bit of a control freak.
My first horror film was - well, I don't know. 'Bless the Child' is sort of genre, but 'May' was such a cult hit that after that, I just started getting offers for horror. I think I got a little bit pigeonholed in it right off of 'May' because there was just such a large response to that film.
I think we have all got to keep active - if we don't we will just seize up and, you know, we won't be able to get out of bed in the morning. It doesn't matter what it is, 10 minutes or 20 minutes, it just starts off the day and I do a sort of combination: a bit of Silver Swans and a bit of pilates and a lot of walking, which I love.
Now that I've got a way in [to the industry] - because it can feel a bit like, "How can I possibly write a film?" - but now that I've got at least some experience in the film world, I'd absolutely love to do it again.
I know when I watch a film at this point, if I completely lose myself in the characters and the story and the world of the film I know that it's at least in my opinion, that was great. Otherwise I'm thinking: "Oh I know they were just doing A, B and C, right before they walked into the scene, then the camera was there, then they probably took the shot from this reverse close-up and moved it into this." When all of that drops away then I'm like: "Okay this was phenomenal, this was fantastic." I mean, any film or TV performance in general is probably good.
I love Donnie Darko movie so much. Just before I got that script, I had been to see some European art film. I walked out of that movie and said to my husband, "That's what I want to do! I want to do an art film and take it to the edge." Within two weeks, we were getting ready to go on vacation, and my agent called.
I actually wrote the song first as "well, it's 9 o'clock on a Saturday." That bit. Then I said, You know what? It needs some kind of an introduction to kind of set the mood and set the flavor. So I just played this kind of cocktail lounge thing, the hustle and bustle of waitresses going by - that kind of thing.
I will tell you that I'm a bit of a snob. I love film, and I would like to work in film, and I'm disappointed that indie film is as hard as it is to work in now. It's hard to get things done, but that sort of work is being done on TV. That's what I do; that's what I write. It's what I love, and hopefully, that's what my future's going to be.
I'm very troubled when editors oblige their film critics to read the novel before they see the film. Reading the book right before you see the film will almost certainly ruin the film for you.
My tutor was a film director on the side, and she introduced me to film. She then put me in one of her short films, and it came out of that. That's when I fell in love with the process of making a film. After that, I was about 15 and I was like, "This is what I've gotta do." So, I started taking acting lessons, and then I applied to college to do acting. I got an agent, and it all just happened.
When I'm on the set, I take five minutes to find the best angle for a scene, and then we just shoot it and it looks exactly what you see on screen because I don't touch it afterwards. I never think about it, before being on the set. That's my thing. I love to be stuck.
Film, for me, is in two stages. One is when I write the script more or less on my own - that's the nice bit. And then comes for me the unpleasant bit when they all go off, 100 people - actors and camera people and film and sound - and I stay away. When they go into the editing room, I come in again, and that's the bit I like.
Unfortunately, when you're working in film, it's this huge machine, and you've got to get everyone right there, so you get kind of locked into things. I'm not sure where the artistry in film making is. It's usually that moment when you're on set and you're working with the actors. That's the time to play around, the moment of theater. And then you can shape things. But a lot of it is just managing stuff. It's upsetting because you get away from the core.
The first time I got a chance to meet Michael was onstage at Madison Square Garden. There were tons of people on the stage, and I just remember losing my mind. Like, Oh my God, that's Michael Jackson right there. I was just over his right shoulder. And then when I finally got a chance to get on the stage with him, I was just shut down. He had the type of magic that you just bowed to. I just said, "I love you, and I know you've heard it a million and one times from fans all over the world, but you've meant so much to me as an entertainer, and I love you, and I've admired you all these years.
I never want to make a film. I don't wake up in the morning going, 'Ooh, I'd really love to be on set making a film today'. I'm aware that other contemporary film directors perceive film-making as what they do, as what they have to do. But I would hope that I am more catholic in my tastes.
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