"I enjoy all aspects of it, I don't have a preference for any medium. I think each of them has its attractions and I would hope they each inform the other in some way"
About this Quote
Murphy’s calm refusal to pick a favorite medium is more than polite PR; it’s a quiet argument against the culture of ranking. In an era when actors are expected to declare allegiance - film prestige, TV’s “golden age,” theater purity - he sidesteps the tribalism and treats craft as transferable, not hierarchical. That matters coming from someone whose career moves fluidly between intimate indie films, massive studio projects, and television that’s been swallowed by cinematic expectations.
The phrasing is tellingly modest: “I would hope” does a lot of work. It signals intention without claiming mastery, as if he’s more interested in process than brand. “Each of them has its attractions” frames mediums as different problem-sets rather than status markers: theater’s live-wire risk, film’s microscopic honesty, TV’s long-form accumulation. He’s not praising platforms; he’s talking about the actor’s instrument being tuned under different conditions.
The subtext is a defense of adaptability at a moment when the industry is fragmented and the audience is trained to sort art into algorithmic categories. Murphy’s stance implies that good work isn’t born from picking the “right” medium, but from letting techniques cross-pollinate: the discipline of stage work sharpening screen presence, the camera’s demand for interiority enriching theater choices, serialized storytelling deepening character patience.
It lands because it’s anti-hype. Instead of selling a project, he’s selling a professional ethic: curiosity over preference, continuity over competition.
The phrasing is tellingly modest: “I would hope” does a lot of work. It signals intention without claiming mastery, as if he’s more interested in process than brand. “Each of them has its attractions” frames mediums as different problem-sets rather than status markers: theater’s live-wire risk, film’s microscopic honesty, TV’s long-form accumulation. He’s not praising platforms; he’s talking about the actor’s instrument being tuned under different conditions.
The subtext is a defense of adaptability at a moment when the industry is fragmented and the audience is trained to sort art into algorithmic categories. Murphy’s stance implies that good work isn’t born from picking the “right” medium, but from letting techniques cross-pollinate: the discipline of stage work sharpening screen presence, the camera’s demand for interiority enriching theater choices, serialized storytelling deepening character patience.
It lands because it’s anti-hype. Instead of selling a project, he’s selling a professional ethic: curiosity over preference, continuity over competition.
Quote Details
| Topic | Art |
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