Jeremy Irons
Jeremy Irons
Jeremy John Irons is an English actor. After receiving classical training at the Bristol Old Vic Theatre School, Irons began his acting career on stage in 1969, and has since appeared in many West End theatre productions including The Winter's Tale, Macbeth, Much Ado About Nothing, The Taming of the Shrew, Godspell, Richard II and Embers. In 1984, he made his Broadway debut in Tom Stoppard's The Real Thing and received a Tony Award for Best Actor...
NationalityEnglish
ProfessionMovie Actor
Date of Birth19 September 1948
CityCowes, England
I was educated in a private school in England amongst people who had been trained for sort of banking or the Army or business. As I came towards the end of my education, I thought I must find something or I'll never meet any of these people again.
I certainly play people on the edge quite a lot. I am interested in what makes people odd and what makes them different. In life I try to play the edges. I have a horror of the herd. There are many, many different sorts of people. A lot of people are fairly uninteresting. I want to play the interesting ones. The villains are always more interesting to portray. Shakespeare knew that.
Could a father not marry his son?
So nevertheless, what I'm saying is that what one is - one's parameters are constantly narrowed by one's success, and my desire is to widen my field even if I risk failure.
The great thing about acting is, because you're constantly playing other characters and exploring yourself because you have to find those other characters in yourself, you sort of broaden as a person over your life because you've been other people. So you can empathize with many different sorts of people. It's great in that way and I hope, therefore, as you get older as an actor, you not only get more interesting because you lived more, but you get a bit wiser as a person.
The sad thing about any business I suppose, but in mine you see it particularly, is that you're always asked to do what you've already done.
It's always great to play a man who sets himself up to be punctured.
I was not naturally intellectual, but somebody whose interest had to be whetted, still the case sadly.
I had done a fair bit of traveling during the holidays in my school days with my guitar and discovered that I could live on it. Admittedly, I traveled with a sleeping bag but I could always find somewhere to lay my head.
And whenever I'm in a situation where I'm wearing the same as 600 other people and doing the same thing as 600 other people, looking back, I always found ways to make myself different, whether it be having a red lining inside of my jacket, having red shoes, it hasn't changed.
You have to communicate on a much greater scale. With a camera, you can use the flick of an eye. On stage, a lot of other things are happening that can pull focus or energy. You're always thinking the same way, but you have to amplify your thoughts with the volume of your speech and the ways you use your whole body to communicate what you're feeling. It's a little bit different from film.
I constantly experience failure in that my work is never as good as I want it to be. So I live with failure.
My father was a CPA. He worked hard in the aircraft industry, and would come home more and more infrequently. He was about to leave my mother, which he did when I was 15.
I find what I call the [bleep] side of the industry very difficult. You won't see me at other peoples' premiers. I mean, I go to my own premiers because I have to help my film, but I don't enjoy that whole side of it. I don't enjoy celebrityhood. I love getting a seat in a restaurant. I love it when people say hi when I don't know them. I mean, that's fine, but apart from that, I like the elements of celebrityhood which make living in the world like living in your own village.