I was a big admirer of F.D.R. He saved Britain.

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'm involved in Northern Ireland Screen and have been for a long time, so I keep my eyes open and ears to the ground.

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.

The idea of accumulating ambitions or achievements didn't get much further than wanting to do the next exciting thing. I really haven't set out with any list of achievements.

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

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

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

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.'

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

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

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

Being Irish, I always had this love of words.

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 find myself so exercised by a desperation to be new.

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

I'm basically quite a cheerful person.

Variety is very, very good. Going from medium to medium, if you get the chance to do it, from theater to television to film, which are all distinctly different, keeps me sharp. What works in one doesn't work in the other, and you have to be looking for the truth of the performance, whatever way that medium might demand.

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 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.

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

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

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

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.