You can see more pictures on our Facebook page HERE.
Monday, October 31, 2011
[Photo] Cillian Murphy leaving BBC Radio 2
Cillian Murphy is seen leaving BBC Radio 2 on October 31st, 2011 in London:
[Video] Cillian Murphy on BBC Breakfast
Cillian Murphy appeared on a talk show BBC Breakfast this morning.
He talked about his new movie "In Time".
You can see the clip HERE.
Sunday, October 30, 2011
'In Time' earns $12 million on opening weekend
"In Time" movie earns $12 million in the US on opening weekend, according to the-numbers.com.
The movie premiered on October 28th and debuted #3 on the US Box Office Weekend chart.
Cillian Murphy plays a Timekeeper Raymond Leon in this sci-fi thriller. The other co-stars include Justin Timberlake and Amanda Seyfried.
Cillian Murphy chats on RTÉ Radio 1
Cillian Murphy chatted with Cathal Murray on The Sunday Rise radio show this morning.
You can hear the whole show HERE. Cillian starts talking at 01:38:20.
Friday, October 28, 2011
[Audio] A phone call from Cillian Murphy on 98 FM
Dermot and Dave from 98 FM radio got into contact with Cillian Murphy today.
They chatted a bit about "In Time" and Cillian told he'd be a DJ in "Workman's Club" in Dublin on November 6th.
Cillian's part starts at 15:40
A new interview
A. V. Club published a new interview with Cillian Murphy. He talked about recently released "Retreat" and "In Time" as well as older ones like "28 Days Later", "Inception", his collaboration with Christopher Nolan, Brendan Gleeson, his wish to do a musical and other things.
The A.V. Club: Retreat is effectively a three-hander: Apart from a few scenes with Jimmy Yuill, it’s really just you, Thandie Newton, and Jamie Bell for the duration of the film.
Cillian Murphy: That’s it, yeah.
AVC: What was it like for the three of you to work in such close quarters? You probably got to know each other pretty well pretty quickly.
CM: Yeah, you do. I think that’s why actors are attracted to pieces like these: you’ve nothing really to rely on except for your fellow actors and the dialogue and the camera. It’s all about the performances and the dynamic between these people, so that’s what makes films like this very appealing. We were all kind of drawn into it together. We didn’t have all that much time to hang out beforehand, and we shot it really quickly. So it was kind of getting to know each other as we worked. But everybody was really up for it. We were out in the middle of nowhere, everybody doing it because they loved the material. When you get an atmosphere like that, it’s very conducive to good work.
AVC: Not knowing each other seems conducive to that role in particular, given that your character and Newton’s character are already supposed to be somewhat distant.
CM: Well, yeah, it certainly was for that relationship. That was kind of what attracted me to the film at the beginning. It’s definitely a genre piece. I know there’s a genre in and of itself—someone mentioned it to me the other day—this locked-in genre, where these people are just trapped in a space. But what I liked was the sort of human element. This is a real couple that’s going through real difficulties and are trying to rekindle something. It’s got a bit more humanity, that setup.
AVC: You were working on Retreat with Carl Tibbets, a first-time writer-director. How sharp was his vision for the film? Did he come in knowing exactly what he wanted it to be?
CM: I think he did. I think he knew very clearly. The reason films like that can succeed is that necessity becomes the mother of invention. Literally, we were just in this house for that four weeks or whatever it was, and I think between Carl, the cameraman, me, Jimmy, and Thandie, we very much just knocked about every day and figured out how these scenes were going to play. I mean, I think he clearly knew the ins and outs of the script, obviously, and where he needed the reveals to be, and where he needed the tension to mount. But in terms of developing the characters, he was very open to that, which was good.
AVC: When you’re working with someone who doesn’t have a lot of experience, do you want to offer input? Do you feel like you’re liable to come off sounding like, “Well, you know, when I worked with Chris Nolan…”
CM: [Laughs.] No. I mean, film is, by its very nature, a collaborative effort, and I think the directors I’ve always been most impressed by are the ones that are most open to any contributions. I think that shows a great level of confidence in one’s self, if you’re able to take other people’s ideas and contributions. And Carl was very much open to that. I think it’s because it comes from his imagination, so he knows it better than anyone else. If a good idea is put forward, then he can run with that. And he was very open.
AVC: You’ve definitely built something of a niche for yourself within the thriller genre. Does that surprise you? Were you a genre fan before you started getting cast in such films?
CM: Well, I don’t know, I’m kind of… I just seem to follow the good ideas, or try to find the good ideas. I’m always struck by something that appears to be original, because there are only so many stories in this world, and in films, there seem to be even fewer. [Laughs.] In movie scripts, even less. I guess I’m always taken with an original concept, and I really like the idea of this film, the idea of the twists and turns it took. In terms of genre stuff, I don’t know. Sunshine was probably straightforward science fiction. In Time is straightforward science fiction. Inception is something different altogether. It’s never been a conscious thing, but I guess if you look retrospectively, you can see that it’s in the thriller and sci-fi world that I’ve worked a lot. But I’ve also done a lot of standard dramatic fare. I don’t know. You never think in genres. You just think in terms of the scripts and characters.
AVC: You got to play two very interesting characters in Peacock, which definitely qualifies as a multi-layered thriller.
CM: Yeah, that’s one of those that doesn’t neatly fit into any category, I think.
AVC: Which is a good thing as an actor.
CM: Oh, well, listen, you know, that’s the other thing you look for: something that’s original and something that will really challenge you. And that one… [Laughs.] Playing two characters is a pretty big one.
AVC: When you’re in a film that’s decidedly off the beaten path like that, it’s got to be difficult to pull major distribution. Do you ever think in those terms when you’re selecting projects?
CM: I tend to think in terms of the part. My job is to turn up on time and make this character that I’m playing as believable and as honest as possible. All the machinations that happen after the film is shot, that’s kind of beyond my ken. [Laughs.] I really just try and do my job as best I can. I like the idea of the disparity of working on a tiny little film in Wales, and… I’d just come off promoting Inception all over the world. I enjoyed that. But making films affords you the fluidity to go between big, massive productions and small, tiny productions. It’s all about trying to tell an interesting story, really.
AVC: You obviously made an impression on Christopher Nolan the first time you worked with him, since he’s continued to invite you back onto his films. Do you happen to know how you first hit his radar?
CM: Well, I auditioned for Batman Begins back in the day. If he knew me prior to that… I mean, that was the first time I’d ever met him. I don’t know if he’d ever seen any of my films. That was the first time we got together, though. Obviously, I never felt I was the right material for Bruce Wayne. [Laughs.] But he obviously saw something in me, and we got on. I was a huge fan of his before I’d ever met him, so meeting him was a thrill.
AVC: Were you a fan of comic-book films prior to that?
CM: No, actually. I’d never read any of the comic books. I mean, I’d seen all of the movies. But I wasn’t aware of the Scarecrow character, for example. Having gotten the part, though, I went back and read them all. But no, I was never a comic-book guy growing up.
AVC: Did you know in advance that you’d be invited back for The Dark Knight, or was that off-the-cuff?
CM: No, Chris just kind of does his own thing. [Laughs.] It’s always lovely to re-collaborate with someone as lovely in this town as him. But no, we don’t talk about future projects. I mean, he’s got to go in and write these things, and they’re huge films. But it’s always nice to get the call.
AVC: Was it mind-blowing to finally see Inception unfold on the big screen, given the unique structure of the filming?
CM: Absolutely, yeah. I’ve always said that it was a challenging read in and of itself, but… With someone like that, you trust him so implicitly that you know he’s got it all up there. I do enjoy working with writer-directors, because they’ve got it all in there, and with someone on Chris’ level, we all had complete confidence that he’d put it together. But it did definitely take me three viewings to understand everything. [Laughs.]
AVC: It’s been said that your formative moment as an actor was seeing a stage production of A Clockwork Orange.
CM: I guess that was kind of an epiphany, yeah, in terms of what you could do theatrically, outside of the traditional, that you could make a piece of theater that could appeal to a younger audience rather than a traditional theater-going audience. It was an amazing production.
AVC: From there, you worked in everything from Shakespeare to Neil LaBute. Never let it be said that you’re inflexible.
CM: [Laughs.] Yeah, I never actually went to drama school, so I was very lucky to work with great directors on great material on the stage in England and Ireland. It’s a brilliant place to learn fast, you know?
AVC: There must have been a significant learning curve. Was there ever a point when you considered that maybe you weren’t in your element?
CM: Yeah. Always. [Laughs.] I think that’s part of it when you’re an actor. There’s always a level where you think you can improve and do better. Certainly at the beginning… You know, I did four years of straight theater without ever having a part in a movie, and I remember being far more nervous on a film set than I was on the stage. It took a while for that to become less so.
AVC: Many of these questions were written while listening to Frank Zappa’s “Son Of Mr. Green Genes,” which inspired the name of the band you and your brother Páidi had in the late 1990s (The Sons Of Mr. Greengenes). Which Zappa album was your gateway drug to his music?
CM: [Laughs.] It was Hot Rats. I think a lot of Zappa purists would say that’s the most accessible of his albums. But it kind of allows you to listen to him. If you can get into Hot Rats, then maybe you can ease your way into Weasels Ripped My Flesh or whatever. [Laughs.] But I loved his individuality and his sophistication. He was a pure genius, one of a kind. He really didn’t run with the crowd. He did his own thing. And I admire that in any artist in any forum. It’s always very inspiring. It should keep you hungry. He didn’t make the easy decisions, ever. I admire his music and what he represented.
AVC: In the early 1990s, The Sons Of Mr. Greengenes was offered a five-album deal with Acid Jazz Records that you ultimately didn’t accept. Do you have any regrets about not pursuing a music career?
CM: No, but I’m definitely a frustrated musician, though it’s more in terms of wishing I was a better guitar player and songwriter. [Laughs.] But I’ve never regretted becoming an actor instead. I think it’s been a more pure form of self-expression for me. I luckily found something that I could aspire to be good at, whereas I never… I think I’d never quite reach that level of artist that I enjoy in the music world. So no, I don’t regret that. I mean, I still play for fun, and I spend all my time going to gigs and buying music. So it’s worked out good in the end, I think.
AVC: Plus, you’ve gotten to sing in various films. Is that you singing and playing Eagles Of Death Metal’s “Speaking In Tongues” in Watching The Detectives?
CM: Oh, no, that was miming. Well, I was playing, but it wasn’t plugged in. [Laughs.]
AVC: You did, however, get to sing in Disco Pigs.
CM: Yeah, I’ve done a bit. I did a bit in Breakfast On Pluto, a bit in Disco Pigs… Yeah, any chance I get. I’d love to do a musical. I don’t really like musicals, per se, but sort of a non-traditional musical? I’d love to get a chance to do that.
AVC: Relatively few actors can say that they found their breakthrough role in a zombie movie. Did you have any hesitation about taking on 28 Days Later?
CM: Well, at that point, I’d done small little Irish films, but nobody had seen those, so it was huge to be able to work with somebody like Danny Boyle. I mean, even before the Oscars, before all of the success he’s had since, Trainspotting was just sort of burned into my consciousness as a teenager growing up. And also Shallow Grave. So the chance to work with him in a leading role was just a dream. And again, I didn’t think beyond that. It was really just the chance to make a film with Danny Boyle. That’s it.
AVC: In 2009, you worked with Brendan Gleeson in the film Perrier’s Bounty. You’d worked with in your first film, Sweety Barrett, back in 1998. Did you get to know him at all at that time?
CM: Oh, yeah. I’ve made, like, five films with Brendan now. He was also in Breakfast On Pluto. I just adore Brendan. There’s nothing he can’t do as an actor. Also, right from Sweety Barrett, he’s been unbelievably kind to me and given me great advice, and has become a friend. He’s someone whose career path I admire, just in terms of doing everything as an actor. I really feel actors should try and do as much diverse work as possible to try and keep it interesting. Brendan has managed to do that.
AVC: Given the diversity of your filmography, do you have a favorite project you’ve worked on over the years that didn’t get the love you thought it deserved?
CM: Oh, I’m kind of loath to pick one project over another or whatever. You go into every film sort of thinking it’ll be your best work, and that’s necessary. I think in this business, you really have to be forward-looking the whole time. I think nostalgia is sort of the death knell for any artist. [Laughs.] So I just keep looking forward to the next project. You’ve got to keep a hunger to improve and to challenge yourself.
Source: http://origin.avclub.com/articles/cillian-murphy,64107/
Thursday, October 27, 2011
Saturday, October 22, 2011
Thursday, October 20, 2011
Cillian Murphy among 10 hottest Irish-American Hollywood men
 |
| Cillian Murphy & Jonathan Rhys Meyers |
The whole list is below:
Ryan Reynolds
Colin O'Donoghue
Bradley Cooper
Colin Farrell
Chris Evans
Stuart Townsend
Jonathan Rhys Myers
Michael Fassbender
Liam Neeson
Cillian Murphy
Tuesday, October 18, 2011
Exclusive Interview with Cillian Murphy for Retreat
HeyUGuys posted an interview with Cillian Murphy for the movie 'Retreat'.
How would you describe the character of Martin?
He’s in his mid-30s, he’s an architect, an upwardly-mobile, middle-class professional type who lives in a nice house in London with his beautiful wife [Thandie Newton as Kate]. But, for various different reasons, their relationship is not in a great place so they come to this retreat to try and patch things up, then this crazy thing happens with this other character and everything is turned on its head. I liked that Martin is sort of a normal guy, perhaps lacking in certain areas, and I liked seeing what this external character [Jamie Bell as Jack] does to their relationship as well as to him as an individual.
How did making Retreat compare to a big-budget Hollywood movie?
We did six-day weeks and the script was pretty intense, but I love that – you’re in it all the time, you know? For an actor it’s great.
Was it the script that hooked you?
Yes, definitely. Actors love these claustrophobic dramas because they’re very psychological, very character-driven. Retreat is all about the dynamic between the three characters, which is very appealing to any actor.
You hadn’t worked with Thandie Newton or Jamie Bell before…
No I hadn’t, and that was another attraction. I got to work with people whose work I’ve admired for a long time. It was a real thrill and they were both fantastic.
And how was it working with first-time director Carl Tibbetts?
Great. His instincts were bang-on and it’s always great to have the writer and the director as one and the same person. He knew the script so intimately and that’s always helpful when you’re discussing character stuff, background and all that because the writer has lived with it for so long. Also, it’s a very smart thing to do your first film in just a house, just the one location. Moving the unit and all that stuff is not an issue when you’re stuck in the one location and it means you can get straight into the work.
Did he panic?
Not at all. He was very calm and I think that’s a very good trait to have as a director – not to be ruffled easily, and Carl certainly wasn’t that. You could go to him with any question and he had an answer for it. He was brilliant at problem solving, which was a result of having written the script, but he also had the right temperament for directing – which is not to lose your head.
Do you prefer making small or big movies?
They’re both appealing in different ways. I have done a lot of low-budget films that are like this one, a six-day week. What happens is you get into a rhythm or you get what I call ‘movie fit’ which means it’s all ‘work, bed, work, bed’. You’re in the character the whole time and real life just kind of stops. That adds an extra dimension to the quality of the work, I think. And then there are the big films where the key is trying to keep that level of intensity during your ten-day break when you’re not on set. It’s trickier and a different type of challenge. With a small film like Retreat you’re trying to keep the energy levels up because you’re exhausted all the time. You can do it for four weeks but you couldn’t do it for 12, but the compressed nature of it does appeal to me.
Is it conscious decision to flit between the two or is about whatever you’re offered at the time?
It’s the latter. I go purely on the script and the budget is irrelevant really. I go by the quality of the script, the director and whoever else is involved, and whether it’s a big budget or a small budget doesn’t have an effect on my choices. It’s the same with different genres. I never read a script and go ‘Hmm, this is that genre so I’ll do it’. It’s purely based on what I can do with the character and what sort of challenges it offers to me as an actor. What I like about Retreat is that the first part of the movie is an adult, sophisticated relationship drama – the relationship between me and Thandie as husband and wife is very well-observed – and then it morphs into something entirely different. So as I say I don’t look at things in terms of genre, I look at the material and what it offers
When a shoot is so intense are you able to shake off the character between takes or when you go home at night?
In terms of my method, I don’t stay in character or any of that stuff. Retrospectively, when you’ve finished a job and you look back on it a month or two down the line you go ‘Right, I was behaving in such a way that was hugely influenced by the character I was playing’ or ‘The way I was interacting with people or how I was spending my spare time was influenced by the character and his situation’. It’s not a conscious thing but by osmosis you can’t help having it affect your life.
"Retreat" is now available on DVD/Blu Ray & will be in theathers October 21.
Monday, October 17, 2011
Saturday, October 15, 2011
Friday, October 14, 2011
Cillian talks about Raymond Leon
In a recent interview for B&L Magazine Cillian Murphy talked about his character Raymond Leon from the movie "In Time".
“He’s [Raymond Leon] a cop charged with keeping this system going” Cillian says. “What’s great about the character is that he is a contradiction, because he’s actually from that same ghetto where Will (played by Justin Timberlake) lives. Deep down, he knows that it’s a corrupt system, and yet he’s decided to accept that and pursue his goal of keeping time. He’s a very kinetic and focused character, and for him it’s just about constantly moving forward. I think he’s suppressed all of his past. What I liked about the writing is that Will and Leon, they’re the flip side of each other. It’s just different paths having been taken. This is the path he’s chosen, and he suppresses all of the misgivings and issues he has with this system. He’s tried to leave them behind over the course of his life.”
“Not only does Leon realize he’s from the same side of the tracks as Will, but there is a sense of history; Leon knew Will’s father. I think over the course of the story, they gain a respect for each other” Cillian adds.
Thursday, October 13, 2011
Cillian to be on BBC Radio 5 live on Friday!
Cillian Murphy will be a special guest on BBC Radio 5 live programme Kermode and Mayo's Film Review. He will promote the upcoming movie "Retreat".
The show airs 14 October, 14:00 to 16:00 BST.
@wittertainment
bbc.co.uk/programmes
Wednesday, October 12, 2011
Tuesday, October 11, 2011
[Photo] 'Red Lights' movie still
A movie still from the upcoming thriller "Red Lights". Cillian Murphy co-stars with Robert De Niro and Sigourney Weaver.
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