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Browse by: Robert Carlyle (Biography) (0.18 seconds)
 
 
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A lot of the characters I play come from the working-class. It's a background I'm familiar with. It's not about being hard. It's just knowing how that society works and what the rules are.I grew up in a working-class area of Glasgow and that experience has stood me in good stead.
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Acting is probably the greatest therapy in the world. You can get a lot stuff out of you on the set so you don't have to take it home with you at night. It's the stuff between the lines, the empty space between those lines which is interesting.
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Biologically, I'm lucky - an angular face and dark colouring which shows up well on camera.
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Every actor I think has got their own number of takes that they like, you know. Some actors like to go all day, you know on the one scene and some actors want to take two takes. I personally like four.
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I feel with TV you're allowed more freedom. With television there's more time to create something through the episodes. The fact that you're working harder on the surface seems more difficult, but you get into a way of working where if you're not allowed to stop and breathe and think about it, you just go on instinctively, which is the way I prefer anyway. It becomes a more spontaneous thing.
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I must have been dreaming about Albie. I spoke in a Liverpool accent all the time. It becomes second nature. It's much easier like that. It seems to me common sense rather than extraordinary.
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I must have done something right because they gave me a grant to the Royal Scottish Academy Of Music And Drama in 1983. But I hated all that stuff they taught me while thumping out the rawness and energy I had. I went off and formed a small experimental, often political, theatre company called Rain Dog to unlearn it.
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I want to keep audiences off balance, so they don't know who I am or how to take me. If I duck and weave, as Frank Bruno might say, I'll have a longer shelf life.
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I'll spare you the actors' pretentious rubbish, but a face reflects experience, so if you concentrate on a character something happens to you physically. Many actors look at the costume before the part, and that seems crazy to me. It's much more fun to be ugly. Not that I think I'm ugly, but I've never considered myself good-looking.
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I'm in four different films this year, and I have four different accents. I sound different in every film. You have to love a character to play it well, and change in my work is what I want.
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It depends who the director is you know, I mean Ken Loach for instance. I've done up to 32 takes with him.
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Looking after Jo Jo was far more psychologically draining than The Full Monty. "There's more to TFM than meets the eye, obviously, but something like JoJo is in a different darker mould. That's something I enjoy.
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The darker the character, the more interesting.
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The script will point you in certain directions and I go the opposite if I can. I try do do one thing and tell a different story with my eyes. I believe what's more interesting is always what's not being said.
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The way a person moves tells you a lot about them. Look at the way I'm holding this coffee mug. If I were to thump it down on the table, I wouldn't be respecting your tape recorder. If I move it gently, it means I am showing some respect. These are the things I bring to my performances.
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To be honest I've worked with a few American actors now and I was looking forward to that you know, coming up in my career thinking "Yeah I'd like to work with some Americans because they seem to be very, very comfortable with improvisation. But that has not been my experience at all. They have to have things absolutely set.
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We met in Cracker. I played a maniac fan who murders a policeman and she did my makeup. I thought anyone interested in me looking like that must have genuinely liked me.
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When you work with Ken Loach, more than 60 per cent of it is NAR - No Acting Required - whereas with other scripts maybe only 10 per cent is NAR, and the rest is performance. It's switching off the performance head that attracts me, because it allows me to escape deeper into the real person. There's no gestures, nothing; it's not about actor's pauses, but human pauses.

Biography

Robert Carlyle (born April 14, 1961) is a popular Scottish movie actor.

Carlyle, born in Glasgow, was abandoned by his mother at the age of four. Inspired after reading Arthur Miller's The Crucible, he enrolled in acting class at the age of 21, at the Glasgow Arts Centre. In 1991, he and four friends founded an acting company. He first came to the attention of the public as a psychotic murderer in an episode of Cracker (in which he killed Christopher Eccleston among others), but was soon playing a more sympathetic role, that of Highland policeman, Hamish Macbeth, in the BBC comedy-drama of the same name.

In 1997, Carlyle got married to Anastasia Shirley. In 2002, she gave birth to their first child, daughter Ava.

Carlyle is perhaps best remembered for his work in The Full Monty, as the leader of a group of men who must perform striptease to earn their living, and Trainspotting, in which he played the psychopathic thug Begbie. Other memorable roles included the villain Renard in the James Bond film The World Is Not Enough, and a cannibalistic Civil War soldier in Ravenous.

Filmography

*'' (2003, as Adolf Hitler)
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Black and White (2002)
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Once Upon a Time in The Midlands (2002)
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The 51st State (2001)
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To End All Wars (2001)
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There's Only one Jimmy Grimble (2000)
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The Beach (2000, alongside Leonardo DiCaprio)
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Angela's Ashes (1999, alongside Juliette Lewis)
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The World Is Not Enough (1999)
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Ravenous (1999)
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Plunkett and Macleane (1999)
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Looking After Yo Yo (1998)
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Face (1997)
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The Full Monty (1997)
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Carla's Song (1996)
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Trainspotting (1996)
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Go Now (1995)
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Hamish Macbeth (1995)
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Priest (1994)
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99-1 (1994)
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Being Human (1993)
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Safe (1993)
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Tender Blue Eyes (1992)
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Rif-Raf (1990)
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Silent Scream'' (1990)

...(more on Wikipedia)

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Robert Carlyle".
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