Saoirse Ronan Quotes

I don't miss scenes at all the way that I used to miss them when I was younger making a film. It's actually quite fun to get rid of them now.

So I've had really great assistant directors for my last seven movies.

I thought The Visitation was good fun. We did some of that filming at Ealing on the big set.

My relationship with every film is more or less the same, but the experience is the difference. It comes with the people I am working with, the character I play.

Fundamentally, the most important thing is to get the film made for me and to get as many people to see it as possible. And if I help that, then - I know I help that, let's put it that way. I do know that I help that. It is called show business.

It was like those songs I'd heard as a child, each so familiar, and all mine. When i got older and realized the words were sad, the stories tragic, it didn't make me love them any less. By then they were already part of me, woven into my conciousness & memory

Let the children's laughter remind us how we used to be.

I think it was a lot of trust as well [between me and Daniel Radcliffe]. If we didn't have that, it could be a very painful film [ Swiss Army Man] to go make.

I half closed my eyes and imagined this was the spot where everything I'd ever lost since my childhood had washed up, and I was now standing here in front of it, and if I waited long enough, a tiny figure would appear on the horizon across the field and gradually get larger until I'd see it was Tommy, and he'd wave, and maybe even call.

Ever since I was little, I've felt very comfortable on a set. The time is stressful - being creative under time constraints. But there is an excitement and energy that you only have a certain amount of time to get what you want.

I don't think a lot of people listen to their old stuff, do they? I spent a long time making it, so I don't really want to spend much time listening to it again.

Whenever I'm doing any film, there's always three different things. There's the script, which is really just a blueprint. And then, you shoot the movie and it's an entirely different experience than you would expect from reading the script. And then, there's the whole post process and the editing, and it becomes something else entirely.

The first thing I did in the studio was to want to tear that camera to pieces. I had to know how that film got into the cutting room, what you did to it in there, how you projected it, how you finally got the picture together, how you made things match. The technical part of pictures is what interested me. Material was the last thing in the world I thought about. You only had to turn me loose on the set and I'd have material in two minutes, because I'd been doing it all my life.

It takes so long to put a movie into production and finish it that anyone with a bad idea has time to give it to you before the movie is completed.

Filmmaking is all about what we like to do on-screen. We have attempted that in the film. I have worked very hard to perform the character.

I remember, when I was a child and wrote poems in little clasped books, I used to kiss the books and put them away tenderly because I had been happy near them, and take them out by turns when I was going from home, to cheer them by the change of air and the pleasure of the new place. This, not for the sake of the verses written in them, and not for the sake of writing more verses in them, but from pure gratitude.

I never really understood how movies were made, because it was such a technical accomplishment.

It's rare that I'm working on a movie and that's the case. My goal is the same, ultimately at a certain point you give it to the director and their vision. You're there to support that vision.

There was definitely a learning curve in terms of being on film, but being on a set was all good.

My dad told me, 'Your movie's never as good as the dailies and never as bad as the rough cut.

There are many ingredients that go into making a film. It baffles me, what works and what doesn't.

I had intended to make another film, called Pocket Money, which was to be about children at a school. I was very much intrigued by the story [of Close Up] - it came into my dreams and I was very much influenced by it. So I called my producer and asked that we put aside Pocket Money and start something else, and he agreed.

If you are not in the red playroom of pain and pleasure, … shooting the movie is much like doing any other movie.

What I notice is that every adult or child I give a new set of Crayolas to goes a little funny. The kids smile, get a glazed look on their faces, pour the crayons out, and just look at them for a while....The adults always get the most wonderful kind of sheepish smile on their faces--a mixture of delight and nostalgia and silliness. And they immediately start telling you about all their experiences with Crayolas.

I love children because that's a part of my life that was so happy, and I like to remember back to those days where everything is a discovery, and the world is so fresh.