Kenneth Branagh Quotations

Friendship is one of the most tangible things in a world which offers fewer and fewer supports.

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.

Lighten up, just enjoy life, smile more, laugh more, and don't get so worked up about things.

Being Irish, I always had this love of words.

I don't find myself so exercised by a desperation to be new.

I fondly remember good times working on 'Thor.'

So many plays with magic in them that would be a terrific invitation to an imaginative animation team.

Sometimes I used to think to myself, 'Have I lost a sense of humor?' but I don't think that I have. I think one can be as snarky and sarcastic as lots of people, but I have never found that it makes me particularly happy.

One of the things that makes Hamlet unique among Shakespeare's characters is his courage to face up to the darker elements of his personality.

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.

The best actors, I think, have a childlike quality. They have a sort of an ability to lose themselves. There's still some silliness.

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.

You go to the airport and look at the bookstand, and you feel the titles are similar, the covers are similar, and you wonder how they can be different.

How many times do you read about 'the Cinderella story,' the story of the underdog, the story of the ordinary human being, often subjected to cruelty and ignorance and neglect, who somehow triumphs?

In 'Henry V,' the story of the assumption of true and responsible leadership by Henry I think is hard-won. He has to lose friends; he has to risk his life.

I think that music is crucially important in Shakespeare - and, clearly, was an important part of the Elizabethan theatre. And, it's always been something that was a profound element of the experience of Shakespeare that I have been drawn to - and interpreters have, as well.

Actors are the best and the worst of people. They're like kids. When they're good, they're very very good. When they're bad they're very very naughty.

It's very strange that the people you love are often the people you're most cruel to.

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 certainly have been guilty of trying to sweep things under the carpet.

I started being interested in acting when I heard the voices of Sir Laurence Olivier and Sir John Gielgud and Sir Alec Guinness. Ive had the great privilege of working with Sir Derek Jacobi and Sir Anthony Hopkins. These are people who inspire the work that I do.

It's quite hard for people to just accept that they're very contradictory.

If you've done a brilliant version it becomes something else.

I don't know that there is too far, actually. I think there's only too bad. If it's bad you've gone too far.

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.

There are some amazing stories from all over this country, where people's work and contribution has been acknowledged. To be part of that is an absolutely fantastic feeling.

I feel more Irish than English. I feel freer than British, more visceral, with a love of language. Shot through with fire in some way. That's why I resist being appropriated as the current repository of Shakespeare on the planet. That would mean I'm part of the English cultural elite, and I am utterly ill-fitted to be.

I only really cast people who are desperate to be in it - who were dying to be in it, whose talent I believed in and were dead ready to do the work that was necessary.

I think the best actors are the most generous, the kindest, the greatest people and at their worst they are vain, greedy and insecure.

In the hands of a great poet, words have ways of affecting us in ways we don't understand.

A brother who is unhappy is a dangerous relative to have.

A creative and artistic home is what I've been looking for in the theatre.

A lot of the films I've done have links to other movies that I've directed in the past.

At the end of every stage performance, the audience all applaud me for doing my job, but I have friends who work in offices who don't get that.

Certainly, I'm excited by epic subjects. It doesn't particularly frighten me.

Do you know what I feel about Dr. Who's? I feel the same way as I do about the Bonds. I love them all. I love them all! I don't have favorites.

Even in the case of a god, audiences - paradoxically - enjoy recognizing the human traits.

For a nanosecond in the pre-Internet pre-digital age, I was a hot young actor, in the sense of popular, and then it passed.

For what it's worth, I enjoy 'Dexter,' 'Modern Family,' 'True Blood' and 'Breaking Bad.' I've enjoyed the wonderful 'The Pacific.'

'Frankenstein' feels like an ancient tale, the kind of traditional story that appears in many other forms.

I come from the theatre, my bones are in the theatre; it’s as natural as breathing to want to be in the theatre

I did 'Celebrity' by Woody Allen. I did 'The Gingerbread Man' with Robert Altman. These were big talents.

I did 'Love's Labour's Lost' in the theater and found it to be riotously funny.

I did not expect to be allowed to be an actor, to be allowed to eventually direct things.

I don't think Hamlet is mad, nor is he predisposed to be a gloomy or tragic figure.

I liked the fact that 'My Week With Marilyn' wasn't a biopic.

I live in the English countryside, so I'm surrounded by magpies.

In the course of my lifetime, that world went from violence to a kind of peace.

I only got 'War and Peace' on the third attempt.

I read the final Wallander novel, 'The Troubled Man,' not long after it was published.

I remember the first book I bought, when I was about 11... Dad said, 'What have you got that for? What are libraries for?'

I suppose that was my first bit of acting, the acquisition of an English accent. It was really just an attempt to be understood.

I think in the wake of the domination of the Marvel Cinematic Universe, everyone is now looking for a grand plan.

I think television goes through phases, like other creative arts, where suddenly a group of people are producing exciting work all at once.

I think we love the escapism of something like 'Cinderella,' and I think we do with 'Thor.'

I went to a comprehensive school and didn't go to university.

I went to Moscow and met some slightly powerful and scary people.

I'm a devotee of Stephen Sondheim. I think he's a genius.

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'm just a normal working class boy from Belfast.

I've always loved pure, silly slapstick comedy. It always makes me laugh.

I've lived a lot of my life in London, so I often feel that I am a Londoner.

In Northern Ireland, I truly, effortlessly, knew who I was. I knew where I belonged. I felt completely and utterly secure.

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.'

'Jack Ryan' is a very fast-paced, very contemporary, very action-driven thriller.

Life is about making plans from which you deviate, almost always. If you are lucky, you do come up with a plan.

Mozart had a tremendously fertile and creative ear for a catchy tune.

My parents are the reason I wanted to make Shakespeare available to ordinary people.

One of the problems with Shakespeare is that you can never give him a ring.

Shakespeare's always on my dance card if it can be.

The BAFTA is both absolutely fantastic and sort of meaningless at the same time.

The Chinese say, 'It's good to live in interesting times.'

The director needs to be in command on set because everything crumbles if that's not the case.

The glory of 70mm is the sharpness of the image it offers.

There's always something to think about in terms of problems that are dark and important and immediate and scary.

To look out of a car in Scania, you see a painting on the horizontal - one windmill, one tiny farmhouse, acres of beet or grass.

What happens is that with difficult processes on a film, they get very intensely compressed because a clock is ticking.

What you want is the opportunity to work and an audience. Prizes after that are just a great big bonus.

When you cast someone like Natalie Portman, the character can't just be the love interest.

I think A Midsummer Night's Dream would be terrific because of the transformations that occur. Or The Tempest, things like that. Extraordinary larger than life or supernatural element.

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 like to cast actors I admire, one's that are talented. Each one will bring something new to the part. This play has been done thousands of times and now certain characters are too familiar.

The long version of the play is actually an easier version to follow. In all of the cut versions the intense speeches are cut too close together for the audience and the actors.

Carrying a movie is both a great privilege, it's a great opportunity, but it can be a great pressure, and sometimes that can make people behave very oddly.

I choose to be inspired by things that have been done well in the past. So, I don't worry about being compared, because I think that does paralyze you.

I don't know that the Brits have the monopoly on being organized, but they do have a way of working with which I'm familiar. It's not necessarily the best way, but it's a way.

I had a friend who introduced me to a meditation practice which involves a couple of half-hours a day of meditation, where essentially you try to achieve a stillness that allows you to just be there in the moment.

I saw Derek Jacobi play Hamlet when I was 17, and he directed me as Hamlet when I was 27, and I directed him as Claudius in 'Hamlet' when I was 35, and I'm hoping we meet again in some other production of Hamlet before we both toddle off.

I suppose, at 50, you value things in a different way. So you value connections, you value your friendships, you value your health, and you are much more aware of time passing.

I think I do have a way of predicting - not always accurately - what is a nerve-wracking day for actors, what may be a difficult scene or a difficult moment, how small - and it may be down to one line - a thing maybe that is upsetting or undermining a performance.

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.

I think that short films often contain an originality, a creative freedom, an energy and an invention that is inspiring and entertaining. I think they are, as Shakespeare put it, a good deed in a naughty world.

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.

I was stuck in a wheelchair playing this deranged villain. I felt this mass amount of rage at being so confined. I thought, 'What can I do that is the direct opposite of this situation?' The only thing I could think of was that I could sing and dance.

I was studying at the Royal Academy of Arts, and I was playing the role of Dr. Ivan Chebutikin in Chekov's 'Three Sisters.' I was about 50 years too young for the part.

I'll tell you what I'm grateful for, and that's the clarity of understanding that the most important things in life are health, family and friends, and the time to spend on them.

I'm very conscious of the fact the directing career has taken some odd turns. Maybe there's enough bulk where I'm now pigeonholed in the 'eclectic box.'

In any given project, there are a few moments where there is the usual disappointment, as it were, when you look in the mirror, and you realize you're not 23 and looking like Brad Pitt.

In the case of 'Jack Ryan,' it was a huge collaboration, and I enjoyed it very much, and most of all, I want the audience to enjoy it, too. I want them to feel immersed in this world.

It's funny to be in rooms where you were originally referred to as 'The Shakespeare Guy' and to suddenly be in the position where you're 'The Blockbuster Guy.' That's a pretty unusual turnabout, I must say.