CONOR MCPHERSON

We know so little of the why, what the universe is, what infinity is. The veil around us is very fragile.

I guess I'm attracted and repelled by isolation. It scares me. And it's why I tend to write about older characters, too, because for them the stakes are somewhat higher.

We're all ordinary in a way. We can all be hurt. We can all be unbalanced. We all have feelings. Life can treat us harshly, even shockingly sometimes.

The play is a very simple idea really; someone needs some support and consolation, and she finds a place where she gets it.

I'm anxious about work, the future, friendships, past relationships... I'm just one of those people that, whatever I'm doing, it's a big worry.

I have a theory about Ireland, being at the edge of Europe. For 1,000 years, people didn't know what was beyond. But we thought about it - a lot. And that 'beyond' became internalized in our psyche.

I'm living as an artist, and that's a staggering feeling, it's a total luxury. And because you have this amazing chance, with so much freedom, I'm determined to make something that is worth that. I feel this responsibility - to create something that makes an audience feel, which takes them somewhere. But that's very hard to achieve.

I just want the actors to put their faith in the language. Just let the words do the work.

I could not flourish in the Hollywood system because the first thing spoken about is "What genre is it?" and "Who's it for?" It's a very strange question to me; it's for human beings.

I think Catholicism took root very quickly in Ireland because it's a very superstitious religion, the holy ghost, the holy spirit, it has a goddess, very visual, the music.

We know so little of the why, what the universe is, what infinity is. The veil around us is very fragile.

I'm living as an artist, and that's a staggering feeling, it's a total luxury. And because you have this amazing chance, with so much freedom, I'm determined to make something that is worth that. I feel this responsibility - to create something that makes an audience feel, which takes them somewhere. But that's very hard to achieve.

I just want the actors to put their faith in the language. Just let the words do the work.

I guess I'm attracted and repelled by isolation. It scares me. And it's why I tend to write about older characters, too, because for them the stakes are somewhat higher.

I'm not a good storyteller - I much prefer to be with people who are chatty, to have the luxury of listening.

I'm anxious about work, the future, friendships, past relationships... I'm just one of those people that, whatever I'm doing, it's a big worry.

The young person isn't certain that love can be real; the middle-aged man is only discovering that it is; and the older person seems so sure of it. I was interested in the way that many of us go through the whole of our lives staying with someone just out of complacency, because leaving isn't easy.

I have a theory about Ireland, being at the edge of Europe. For 1,000 years, people didn't know what was beyond. But we thought about it - a lot. And that 'beyond' became internalized in our psyche.

If I wasn't plagued by needing to write things, that would perhaps be a blessing.

I think Catholicism took root very quickly in Ireland because it's a very superstitious religion, the holy ghost, the holy spirit, it has a goddess, very visual, the music.

I would love to make a 1830's period piece, a house in the country, a classic atmospheric haunted house movie, visually it would be so beautiful, the costumes, the candles, the darkness, and the quiet, no radio, to TV, the clock ticking away.

We're all ordinary in a way. We can all be hurt. We can all be unbalanced. We all have feelings. Life can treat us harshly, even shockingly sometimes.

I love stories that frame that: This is what life is about - you don't have a clue.

I started directing out of necessity, the first play I wrote in college because I didn't know anyone who could direct it.

Directing is such a crucial part of the writing process; you start directing and you see what does not work. "Oh, God, what was I thinking?" and then you can rearrange it.

I could not flourish in the Hollywood system because the first thing spoken about is "What genre is it?" and "Who's it for?" It's a very strange question to me; it's for human beings.

It's probably the last thing you think about when you're making a film is other people's problems. You're thinking about your problem, which is making the movie. But you do have a responsibility. You can't mess around with people's emotions.

When people are out of their comfort zone, it’s more dramatic, more prone to have more entertaining experiences, get into fights. That’s the dramatic instinct, to move people out of what they know and make them deal with it.

The play is a very simple idea really; someone needs some support and consolation, and she finds a place where she gets it.