Zitat des Tages von Martin McDonagh:
When I started out, I was very vociferously against theatre or what I saw theatre as being, so I tried to make my plays the opposite of that - something a bit more cinematic. I'm a film kid, so I'll never have the same love of theatre as I do of movies. It's just the way I was brought up.
I think if you're writing a play, it should be its own end game; you'll never get to do a good one unless you know it's not a blueprint for a film; you're not going to get the action right and the story right.
I fell into the theatre because I felt I was doing it well, and I stuck to it for the same reason.
I've got a fondness for rabbits.
When I'm happiest writing is just not knowing where it goes and just let the characters bring you there.
I pick and choose what I want to do at any given time, and what not to do, importantly. My agents, I won't hear about any offers or options.
I loved 'The Master' a lot. I'm not going to get to work with Daniel Day-Lewis, but Joaquin Phoenix is one of the best around, I think.
As a kid, as a poor-ish, working-class kid, even visiting America seemed like an impossible dream. Every time I ever went anywhere in America, it always felt cinematic and dreamlike and like a movie from the '70s or something.
It's like two years straight out of your life doing a film. It's very enjoyable, especially working with the guys, but I kind of like the idea of traveling and growing, and developing as a writer and as a filmmaker.
I seldom feel comfortable in a theatre. I always feel like I own a cinema. I feel equally happy in an empty one as a full one. Probably happier in an empty one!
My plays are always pushing towards cinema anyway. They're down and dirty, real and more fun.
I never lie in interviews.
'Pulp Fiction' is an amazing film, and I haven't made one nearly as good.
I can't stand up in front of people. It just fills me with horror.
With a stage play, they can't cut a word; you can be in rehearsals every day, you cast it, you cast the director, too; the amount of control for a playwright is almost infinite, so you have that control over the finished product.
I went to Bruges for a weekend away from London. I was supposed to be meeting a girl there the next day. It was a tentative arrangement. From the moment I saw the town, I thought, 'This place is just so cinematic, so gorgeous.' Every corner seemed to offer a new image.
I don't feel I have to defend myself for being English or for being Irish, because, in a way, I don't feel either. And, in another way, of course, I'm both.
I never, ever drink while writing. Never have from the start, and I'm happy that I never have to. A lot of my stuff is plot-driven and mathematical, and I think you need a clean and sober mind to pin down the logistics of that.
My usual trick with the Irish plays is to set things on islands I've never been to.
The fact that ticket prices are way too expensive, and there's only one bunch of people going to see Broadway shows, is something I've never liked.
When I heard the Pogues, I connected with the songs immediately, but it was also the first time I didn't reject out of hand the kind of music that my parents had always tried to push on to us when we were growing up.
Ireland was an idyllic place for us as children. We had all these cousins and all this green countryside. Given what I've written about rural Ireland, my memories of it are all blue skies and endless play.