Colin Farrell
Colin Farrell
Colin James Farrell is an Irish actor. He first appeared on the BBC's TV drama Ballykissangel in 1998, made his film debut in the Tim Roth-directed drama The War Zone a year later and was discovered by Hollywood when Joel Schumacher cast him in the lead in his war drama Tigerland. He then starred in Schumacher's psychological thriller Phone Boothand the American thrillers S.W.A.T. and The Recruit, establishing his international box-office appeal. During that time, he also appeared in Steven...
NationalityIrish
ProfessionMovie Actor
Date of Birth31 May 1976
CityCastleknock, Ireland
CountryIreland
From my experience, the only thing you can do is take what's written on the page and try, through your own curiosity and investigation, to make it your own and honor what the original intent was.
You consciously look after yourself, whatever that may be to you, whether it's going out for a few drinks and a bit of dinner, or just hitting the couch and watching TV, or going to the gym or yoga class. Just being aware that there's a potential for you to be in it and respecting wherever you find yourself is good enough.
You have a certain objectivity, as a member of the audience, and you can come away maybe being provoked into a certain discourse or a certain arena of questioning, regarding how you would deal with things that your character has to deal with. Whereas when you're doing a film, once you start asking, "What would I do?," you're getting the distance greater between yourself and the character, or you're bringing the character to you, which I think is self-serving, in the wrong way. The idea is to bring yourself to the character.
It doesn't matter if it's a drama or a comedy, the need to get the emotion and the character arc across is way harder in something like this so was more of a preparation.
I got to work with Jared Leto. Jared's cute. Oh, I'll tell you. Jared will make you doubt about your sexuality.
I get excited about room-service menus! I really do.
You're scrutinized all through your life - you're scrutinized by your family, by yourself, by society, and your friends in a certain way, shape, or form.
At the end of the day, it's all one version of telling a story. I treated this as if it was a two million dollar independent film. I did a lot more physical work than I'd probably have to do for a two million dollar independent film with four months of training and stuff. But as far as the character's psychology or emotional life goes, I treat it just the same.
The sea always offers up incredible stories of survivors' fortitude. Myths of a lot of countries have variations on that.
Pain seems to be easier, or melancholy seems to be easier to portray in a character. I don't know if that's because I'm a human being or because I'm an Irishman or both.
My Dublin wasn't the Dublin of sing-songs, traditional music, sense of history and place and community.
The idea of implanting memories where by the implantee couldn't tell the difference between a real experience and a fantasy experience was really cool. And his ideas of technology - do we control technology or does technology begin to control us? His work hasn't aged a day it seems.
Magic is at the core of myths.
It's not that I'm stupid. I just don't think sometimes.