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Brendan Gleeson
Birthday:
29 March 1955
Height:
188 cm
Biography
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.'
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.'
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.
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.
You can channel a lot within a comic framework, and I think The Guard (2011) had a lot going on outside of the comedy, which is satisfying.
You can channel a lot within a comic framework, and I think The Guard (2011) had a lot going on outside of the comedy, which is satisfying.
The good thing about my part in 'Harry Potter' was that I was pretty well disguised. When I was walking down the street, there was no real recognition factor. Parents would sometimes call their children to come say hello to Mad-Eye, and the kids wouldn't know what they were looking at.
The good thing about my part in 'Harry Potter' was that I was pretty well disguised. When I was walking down the street, there was no real recognition factor. Parents would sometimes call their children to come say hello to Mad-Eye, and the kids wouldn't know what they were looking at.
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.
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.
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.
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.
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.
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.
I'd never had any problem finding inspiration; Ireland was always just there, you know? All this richness of culture was there to tap into.
I'd never had any problem finding inspiration; Ireland was always just there, you know? All this richness of culture was there to tap into.
I think every character actor at some stage likes to carry a film. It can be extremely liberating to just come in for a scene or two and do your thing. But I find it frustrating if I'm just doing little bits here and there for too long.
I think every character actor at some stage likes to carry a film. It can be extremely liberating to just come in for a scene or two and do your thing. But I find it frustrating if I'm just doing little bits here and there for too long.
The whole point of film for me is that it's such a joy. It's such a wonder. The possibilities are literally endless in terms of what you can creatively do.
The whole point of film for me is that it's such a joy. It's such a wonder. The possibilities are literally endless in terms of what you can creatively do.
I don't plan in terms of career ambitions. The only career ambition I have is to work with people who are going to bring you up and elevate your performance. They'll let you know things that you didn't know already and bring you places that you might not have gotten to otherwise.
I don't plan in terms of career ambitions. The only career ambition I have is to work with people who are going to bring you up and elevate your performance. They'll let you know things that you didn't know already and bring you places that you might not have gotten to otherwise.
I tend to look for the good in bad people and the bad in good people, to make them human. 'Cause I don't think that people generally are that black and white. Maybe in movie-land they can be... but that isn't necessarily all there is.
I tend to look for the good in bad people and the bad in good people, to make them human. 'Cause I don't think that people generally are that black and white. Maybe in movie-land they can be... but that isn't necessarily all there is.
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.'
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.'
What I voice, I voice though my art, if that's not too vainglorious a word. But I don't think it is.
What I voice, I voice though my art, if that's not too vainglorious a word. But I don't think it is.
I loved teaching. And I always used to say that acting was just something I did purely on my own terms, and that if I had to make a living from it there would be too much pressure.
I loved teaching. And I always used to say that acting was just something I did purely on my own terms, and that if I had to make a living from it there would be too much pressure.
I think it was a possibility, I think we're all kind of delusional like that, we think that we can all carry on being who we are without bending ourselves to make ourselves acceptable and expect someone to come along and see to us and rescue to us.
I think it was a possibility, I think we're all kind of delusional like that, we think that we can all carry on being who we are without bending ourselves to make ourselves acceptable and expect someone to come along and see to us and rescue to us.
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.
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.
I worked with Steven Spielberg on 'AI' and his level of preparation was extraordinary. He told me there was a time at the beginning when he was a bit more spontaneous and went over budget, and it absolutely wrecked his head. When you look at the power and assuredness of his movies, it makes sense that he works out so much in advance.
I worked with Steven Spielberg on 'AI' and his level of preparation was extraordinary. He told me there was a time at the beginning when he was a bit more spontaneous and went over budget, and it absolutely wrecked his head. When you look at the power and assuredness of his movies, it makes sense that he works out so much in advance.
I hope I'm worthy in my dying. I hope I can maintain myself - that I wouldn't become pathetic and needy, and the worst part of myself come out in adversity. But I'm not afraid of it. It'd be such a silly thing to do! To ruin the life you have by fearing its ending.
I hope I'm worthy in my dying. I hope I can maintain myself - that I wouldn't become pathetic and needy, and the worst part of myself come out in adversity. But I'm not afraid of it. It'd be such a silly thing to do! To ruin the life you have by fearing its ending.
Winston was a bit of a challenge, all right, from a lot of different perspectives. It wasn't just the culture or the class divide or the historical baggage - it was also the age difference. We had to see if I could be aged-up legitimately, without it becoming some sort of hokey acting challenge.
Winston was a bit of a challenge, all right, from a lot of different perspectives. It wasn't just the culture or the class divide or the historical baggage - it was also the age difference. We had to see if I could be aged-up legitimately, without it becoming some sort of hokey acting challenge.
Look at the Coen brothers. All their minor characters are as interesting as their protagonists. If the smaller characters are well-written, the whole world of the film becomes enriched. It's not the size of the thing, but the detail.
Look at the Coen brothers. All their minor characters are as interesting as their protagonists. If the smaller characters are well-written, the whole world of the film becomes enriched. It's not the size of the thing, but the detail.
Actors will always tell you it's more fun playing bad guys. A lot of the time, it's criminals who are the people who don't care. There's something extraordinarily seductive about the guy who doesn't care, and to play that guy is terribly empowering, because you don't have to worry about the consequences of your actions.
Actors will always tell you it's more fun playing bad guys. A lot of the time, it's criminals who are the people who don't care. There's something extraordinarily seductive about the guy who doesn't care, and to play that guy is terribly empowering, because you don't have to worry about the consequences of your actions.
Everyone's waiting for the seventh book, and looking at each other saying, 'Oh, I wonder will I be in the running?'
Everyone's waiting for the seventh book, and looking at each other saying, 'Oh, I wonder will I be in the running?'
I'm very proud of Calvary (2014). It's been doing well; it has legs. It's no easy ride. It packs a punch, this one.
I'm very proud of Calvary (2014). It's been doing well; it has legs. It's no easy ride. It packs a punch, this one.
It's interesting going between small parts and then bigger roles where you carry the film. If the writing is good, and if the people involved have integrity, then you'll do it, even if it's only five minutes on screen.
It's interesting going between small parts and then bigger roles where you carry the film. If the writing is good, and if the people involved have integrity, then you'll do it, even if it's only five minutes on screen.
When I started out at about 19, 20, it took me two years just to tell the difference between a jig and a reel. It does all sound the same, but what you can find once you go in - it's never-ending. So that's my love.
When I started out at about 19, 20, it took me two years just to tell the difference between a jig and a reel. It does all sound the same, but what you can find once you go in - it's never-ending. So that's my love.
The horror of a death without dignity has so much implications for the people who are left behind.
The horror of a death without dignity has so much implications for the people who are left behind.
For me, it's just about keeping the standards up. We're a small country, so we have to punch above our weight. I'm not a great man for doing something just because it's Irish, and you never know what's going to work. But as long as we keep the standards up, people will continue to invest in films. It's as simple as that.
For me, it's just about keeping the standards up. We're a small country, so we have to punch above our weight. I'm not a great man for doing something just because it's Irish, and you never know what's going to work. But as long as we keep the standards up, people will continue to invest in films. It's as simple as that.
I don't want people poking around in my private stuff. They've no business in it. My work is what I give to people, that's my job, and that's where it stops.
I don't want people poking around in my private stuff. They've no business in it. My work is what I give to people, that's my job, and that's where it stops.
[About In Bruges (2008) director Martin McDonagh] Yeah, similar to that, I'd kind of worked with Martin on Six Shooter (2004)... he showed me that script before we knew it was going to happen... It was kind of a notion at that time, so you just kind of think, 'how cool this would be to make'.
[About In Bruges (2008) director Martin McDonagh] Yeah, similar to that, I'd kind of worked with Martin on Six Shooter (2004)... he showed me that script before we knew it was going to happen... It was kind of a notion at that time, so you just kind of think, 'how cool this would be to make'.
[on In Bruges (2008)] A real test of our acting ability.
[on In Bruges (2008)] A real test of our acting ability.
Brendan Gleeson
Brendan Gleeson was born in Dublin, Ireland, to Pat and Frank Gleeson. From a very young age, he loved to learn, especially reading classical text in and outside the classroom. He took great attention to Irish play writers such as Samuel Beckett, which eventually led to him performing in his high school play production of "Waiting for Godot", and paying great attention to detail in his high school drama classes. Upon finishing 12th grade, he spent a couple of years with the Dublin Shakespeare Festival, and under the advice of a director there, headed across to London and auditioned for drama schools. Soon to follow, he was invited to audition for the Royal Shakespeare Company in Stratford upon Avon, and spent a couple of seasons back in England on the stage. He then, at the age of thirty five, decided to audition for films in the UK and began to build a very respectable resume playing many different diverse characters.He made his debut as a quarryman in The Field (1990). He had several small roles in major Hollywood movies based in Ireland, such as Far and Away (1992) and Into the West (1992). Memorably played historical Irish figure "Michael Collins" in The Treaty (1991). Made his breakthrough in Scottish themed Braveheart (1995), which was largely filmed in Ireland, opposite Mel Gibson. He played Gibson's right-hand man "Hamish". Since then, he has appeared in numerous major films such as Mission: Impossible II (2000), Lake Placid (1999), Turbulence (1997). He has made a name for himself taking the titular role in The General (1998), based on the life of Irish criminal "Martin Cahill", for which he won the Boston Society of Film Critics Award. He appears in director John Boorman's film The Tailor of Panama (2001) as well as Martin Scorsese's Gangs of New York (2002) and Steven Spielberg's Artificial Intelligence: AI (2001).Ever since, he has continued to bring his huge stage presence to the screen, always delivering the character in full development to his audience. He is married to his lovely wife, Mary, since 1982. They have four sons.
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Brendan Gleeson Filmography
Brendan Gleeson Roles
August Nicholson
Liam Tobin
Stobrod Thewes
Martin Brown
Reynald de Chatillon
Alastor 'Mad-
Sheriff Hank Keough
Menelaus
Frank
Wiglaf
Walter 'Monk' McGinn
Conor
General Brigham
Michelangelo 'Mickie' Abraxas
Father James Lavelle
Victor Doyle
Gerry Boyle
Lord Johnson-Johnson
David Barlow
Henry Osborne
The Pirate with Gout
Germain Lesage
Ken
Thomas Nickerson
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