I started hitching about the country when I was 16 or 17 years old. I found the music that was played around the country - Irish music - had a particular resonance.
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I started hitching about the country when I was 16 or 17 years old. I found the music that was played around the country - Irish music - had a particular resonance.
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I don't maybe follow the normal star profile, and it's not something that I particularly want to embrace in terms of the publicity thing and wanting to be famous and known.
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What I voice, I voice though my art, if that's not too vainglorious a word. But I don't think it is.
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I find myself really privileged to be able to go in and look at a set that the likes of Hollywood can provide, and say, 'My God, look at the craftsmanship in this; look at the ambition in it, the scale of it.'
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My grandfather played a mandolin, so I got my hands on that. Then on down to a banjo, and I found I couldn't play any kind of soft or mournful music with that so I took up the fiddle in my late 20s or early 30s - and that was far too late. But it keeps me off the streets. It has been a love of mine since I was 17 maybe.
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When I first was able to fill in A-C-T-O-R for the occupation line on my passport, that was the first time I really felt, 'Wow, I'm home.'
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I'm aware now over the last 5 or 10 years that when you do an accent, you really have to kind of get down to the nitty gritty and go into the phonetics of it, if necessary. Find out not just the sounds but the rhythms and the music - or lack thereof - in a particular accent.
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I think it's what art should do: make you feel less alone - either in the quest for truth or in dealing with any pain you have.