Best 29 quotes of Peter Mullan on MyQuotes

A lot of actors aren't particularly good directors. And they're not particularly good with other actors. That's kind of a fallacy.

A script is utterly useless in and of itself; it's only of any worth the minute your actors, your designers, your directors come into being.

Every film I've ever worked on, and that includes 'Braveheart' and 'Trainspotting,' I've always witnessed a director having a breakdown. Every director will have a day, without exception, where they just can't do it anymore, they don't know what to say to their cameraman, their cast. It's the sign of real, physical exhaustion.

I did 'Deathly Hallows' so my kids could get on the 'Harry Potter' set. They met Daniel Radcliffe, who was a darling and couldn't have been nicer to them so I'm a hero right now.

I don't like the way some actors, when playing a nasty character, will try to grab hold of something good about them.

If I'm at home on my own and the writing isn't going well, I clean my house. And there have been times in the past few years when my house has looked really clean.

I hate it when something is set in 1967 and every piece of furniture was made in 1967. No! If it's set in 1967, people have furniture given to them by their grandmother, which she bought in 1932!

I know virtually no one of my age who can remember a hug, or a smile from their father, or a 'Let's go play football.'

I love acting. It's the one job I know of where you can go in, go through complete catharsis - emotionally, physically sometimes and mentally - and at the end of the day say, 'See you in the pub, guys.

In bringing the subject of religious oppression to a wider audience, I didn't just want to kick the Catholic Church but to poke a finger in the throat of theocracy and to let it be known that people shouldn't tolerate this anymore.

In terms of popular cinema, 'One Flew Over the Cuckoo's Nest' is as near perfection as I can think of.

In the acting game, you spend a long time fighting against what the director perceives you to be. And half the time the directors don't know.

It's not so much that I want to direct but that I have to. When I write something it terrifies me that if I give it to someone else and it doesn't turn out as it could have done, I'd feel as if I'd orphaned my baby.

It takes a very strong brain to resist the absolutes, the myths that the media and the politicians peddle - the idea that if you are too kind, where does it all end? That not to help someone is somehow a good idea.

I wanted to dismantle the bollocks that there's a military structure to a gang, with a leader, second leader, the good looking one, first babe, second babe. It's far more arbitrary than that and their values shouldn't be romanticised. They aren't something you want to sign up to.

I was on the set of 'Braveheart' and my mate says to me, 'Do you think this film will be any good?' And I really meant this, too, I told him 'Let me put it this way - It won't win any awards.' Cut to: five Oscars.

Just in relation to women, it's not that huge an imaginative leap to see the connection between the Taliban and the Catholic Church.

Life is much weirder than fiction; nothing's more absurd.

Nine out of ten delinquents are frustrated actors.

Part of the reason why movie bosses are so obsessed with crime movies is because they know that world and the criminals. And that's what they are - they would not hesitate to act illegally to achieve profit and gain.

Sometimes you have to confront your demons and sometimes even let them loose to genuinely find a place where you can gain some understanding.

The acting I got into by doing what we call pantomime, when I was sixteen. And, there were loads of very pretty girls in the show. I realized; I found out very early on, that the lead comic gets the girl. So, that was cool. When I went to university, I studied Economic Social History. And drama. That kind of got me into it. My main passion was to make films. It was never to be an actor. At that time, there weren't many opportunities for a working class Scottish actor. It was kind of an English thing. And it required a certain mannered cerebral acting style that I couldn't relate to.

The films that I really enjoy now are films that are made by, for wont of a better word, mavericks.

There are some people who walk into a room and they oxygenate it, by their very being there's fresh air. Then there are those who come in with the smell of death and they suck the life out.

There's a part of bohemia I love. The lack of prejudice, the lack of aggression, I love the lack, for the most part, of competitiveness. It's more peaceful.

There's no such thing as an actor giving positive criticism to a director. The minute you say 'Don't you think it would look nicer', that director's going to hate your guts. Particularly if it's a good idea.

The Vatican has tried to condemn 'The Magdalene Sisters' as a pack of lies and that I've made it all up - I wish I was that good a dramatist - and in terms of public relations, that was the daftest thing they ever did.

Watching people just look out for themselves, I think, is extremely interesting. It goes right back to something like 'The Beggar's Opera' - the underbelly of society, how it operates, and how that reflects their so-called betters.

What point is there to all the wealth and power that America may have if they can't look after its own?