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
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.
I'm a complete libertarian. I think it's very, very dangerous. I really mean that. I think the smoking ban is a tip of an iceberg of society-the leaders of society telling us how to be. I think it's not their business....It's an attitude where the governors think, 'We know what's best for people, and they're so stupid that they would only not do it if we ban it.'
Now in my theater training I showed no aptitude at all.
Sadly, one's parameters are constantly narrowed by one's success.
To be an actor you need various things. You need to have a head for choosing the roles. You have to be, hopefully, easy to work with so people enjoy working with you. You have to deal with missing roles, with not being asked to work, with doing good work and then being castigated by the critics for it. You have to have a skin that can deal with all of that. I, fortunately, seem to have the makeup which allows me to deal with the business. I mean, not as everybody.