Domhnall Gleeson Quotes

There are some movies that you feel like doing because of the script. Some because it sounds like fun, some because that's the director you want to work with, some because it's a project that you want to be involved with, and some because you will be paid lots of money. But the bottom line is I must feel like doing it.

There are plenty of examples of people who have had busy lives out there in the world, trying to do good, and written very well at the same time.

Sometimes we'll only get one script in a year that we want to make that we feel is good enough.

I'd love to say I made the smart decision of picking projects that became hits, but with 'The Good Wife,' I read the script and something inside me said, 'I love this, I want to do this.'

I think that whenever there's a good script we try to make that happen, but it's all based off of a good story, a good script, but I don't believe you should do it just because it's African-American.

New York is fantastic, and I've done several films in Los Angeles which I really enjoyed, but I don't think that America is the be-all and end-all. I'll follow the good work wherever it may be.

The quality of writing attracts me to films, also who the other actors are, who the director is, where it's being shot. Any or all of those things. But if the writing is really appalling, then the money had better be really good. Sometimes you say yes to something you wouldn't always do because you need the money.

I will work with a director who has good material because at the end of the day, that's what counts.

I take more jobs when I need more money, if I'm investing in films. I take fewer when I don't. Or if something really good comes along, I usually find a way to do a good job on it in the time that I've got.

If you check your ego at the door when it comes to comedy, you've got a pretty good shot at making a great movie that you can commit yourself to, you can jump off the proverbial cliff with, and have a great time, and the audiences respond to that.

When I choose projects, I don't stipulate between film or theatre or television. I receive scripts and I read scripts - and when I read a script that's good, I then get married to it and talk to my agent about what happens next.

My kids watch everything downloaded; they have no idea what the numbers or the names of the channels mean, except, 'FX makes the show that I see on my computer.' So it's harder to get a show on the air, but at the same time, there are a lot of terrific shows.

At the same time, reading an action script... It makes me wonder. Was The Matrix a good script? I don't know.

My pay packet is reasonable. But I prefer doing films where I have a meaty role. The set-up of the film and the filmmaker also matter to me. For me those are vital issues that help me decide on a film. You never sign a film only for money.

Irony is the form of paradox. Paradox is what is good and great at the same time.

I'm very good at delegating - people work much better when they have a real sense of responsibility. But at the same time, I don't like surprises. I don't pore over every shoot, but I do like to be aware at all times of what's going on.

I have had the most wonderful time on 'EastEnders' and I will miss you all. The show has changed my life and I want you all to continue the good work, because I'll be at home watching you.

Is self-interest a bad thing? We want our leaders to be pure and good, but at the same time we want them to be effective, and to be effective you often have to be ruthless and not bound by ideology or the same morals that we pretend to hold ourselves to.

I appreciate the positivity of those 'year of the woman' articles - it's good to get that energy out there - but at the same time, in Hollywood it's not happening yet.

What does it mean to be a superhero? We're all fighting for the better good. But, at the same time, I think what stands out is, as superheroes, you don't give up; you don't surrender. I think that's what makes a superhero.

It's possible for me to make a bad movie out of a good script, but I can't make a good movie from a bad script.

Of course, it's wonderful to film any period piece - but especially 'Foyle's War' because the art direction is so imaginative and yet at the same time so real. You can open a drawer on set, and even though the camera never sees what's inside, it'll be filled with genuine 1940s documents.

Like a lot of freelance cartoonists, when any opportunity like that comes along, I have a hard time saying no, whether it makes sense or not.

You just can't make any movie and it will be good now. This is a really a difficult time to be in films.

One of the best things - and something I'm grateful for every time I walk onto a film set - is my six and a half years on Dawson's Creek and the experience it afforded me in how to get comfortable with the camera.