(C) AllGreatQuotes. All Rights Reserved.
I went to Moscow and met some slightly powerful and scary people.
– Kenneth Branagh
The glory of 70mm is the sharpness of the image it offers.
The director needs to be in command on set because everything crumbles if that’s not the case.
I have a pathetic urge at some stage in my life to be able to pull out my wallet and pull out a little card on which it would say, ‘Kenneth Branagh, artistic director.’
I think we love the escapism of something like ‘Cinderella,’ and I think we do with ‘Thor.’
Music and language are a vital element. We, as actors and directors, offer it to people who want to experience it. Sometimes the actual meaning is less important than the words themselves.
I’m a devotee of Stephen Sondheim. I think he’s a genius.
I think that Shakespeare himself raided fairy tales and chronicle writers, and he always looked to people who worked in the mythic genres, whether it was folk tales or popular novels.
So many plays with magic in them that would be a terrific invitation to an imaginative animation team.
Mozart had a tremendously fertile and creative ear for a catchy tune.
We’re self obsessed and mad and stupid – not that other people can’t be the same way – but the extremes are kind of honest in some mad way. Anyway, I like them.
I’m by no means an opera buff.
I did ‘Celebrity’ by Woody Allen. I did ‘The Gingerbread Man’ with Robert Altman. These were big talents.
The best actors, I think, have a childlike quality. They have a sort of an ability to lose themselves. There’s still some silliness.
I am a long-time hide-behind-the-sofa-in-the-early-Doctor Who-in-the-1960s fan.
There is some mysterious thing that goes on whereby, in the process of playing Shakespeare continuously, actors are surprised by the way the language actually acts on them.
I’m involved in Northern Ireland Screen and have been for a long time, so I keep my eyes open and ears to the ground.
I was a big admirer of F.D.R. He saved Britain.
I’m always interested in contemporary fiction.
I did not expect to be allowed to be an actor, to be allowed to eventually direct things.
I don’t find myself so exercised by a desperation to be new.
I do think that, for instance, we’ve been very lucky to have theatrical careers and be associated with Shakespeare which sometimes gives you a kind of bogus kudos.
I did not make this a long film for its own sake. I wanted to make an entertaining film and offer it out there for those who want to see it. If word of mouth suggests there is an audience out there, hopefully their cinema will show it.
Friendship is one of the most tangible things in a world which offers fewer and fewer supports.
I think the best actors are the most generous, the kindest, the greatest people and at their worst they are vain, greedy and insecure.
I think what you’re always looking for as artists is to be honest and to continue to be honestly driven by that which you are passionately engaged with. It should need not be forced.
Probably 90 percent of the stuff I make has inevitably been done before… Whether it’s playing Hamlet, which has been on the go for 400 years, or pieces from the cinematic world that also have been essayed before, I feel released by that.
Many of us live in dysfunctional families, and so even if it’s in a fairy tale, or perhaps because it’s in a fairy tale, we have a chance to look at that side of our reflected lives differently.
In Northern Ireland, I truly, effortlessly, knew who I was. I knew where I belonged. I felt completely and utterly secure.
The elasticity of Shakespeare is extraordinary.