TCM Archive Materials VIEW ALL ARCHIVES (0)
|Also Known As:||Gabriel James Byrne||Died:|
|Born:||May 12, 1950||Cause of Death:|
|Birth Place:||Dublin, IE||Profession:||actor, director, producer, screenwriter, author, bartender, plumber's assistant, apprentice chef, salesman, columnist, busboy, toy factory worker, messenger, seminarian, teacher, archaeologist|
Biography CLOSE THE FULL BIOGRAPHY
rom emotional detachment to extreme candidness displayed unusually moving grace.In another attempt to keep his acting career fresh, Byrne took on network television with a starring role in the short-lived sitcom "Madigan Men" (ABC, 2000-01), playing a recently divorced man who routinely receives romantic advice from his teenaged son Luke (John Hensley) and widowed father Seamus (Roy Dotrice). He maintained numerous producing projects on his slate, including "Mad About Mambo" (2000), a Belfast-set coming-of-age tale produced by his own Plurabelle Films. Meanwhile, Byrne continued to be in-demand as a character actor, happily toiling away with parts in such mainstream films as "Ghost Ship" (2002), a supernatural thriller in which he played a salvage ship captain whose crew encounters a mysterious ocean liner lost at sea. In the flashback sequences of "Spider" (2002), he played the father of a psychologically damaged man (Ralph Finnes) recently released from a mental institution, who may or may not be truthful about his childhood trauma. After a short role in "Shade" (2004), a little-seen indie about poker hustlers, Byrne appeared in the adaptation of Thackerey's "Vanity Fair" (2004), playing the...
rom emotional detachment to extreme candidness displayed unusually moving grace.
In another attempt to keep his acting career fresh, Byrne took on network television with a starring role in the short-lived sitcom "Madigan Men" (ABC, 2000-01), playing a recently divorced man who routinely receives romantic advice from his teenaged son Luke (John Hensley) and widowed father Seamus (Roy Dotrice). He maintained numerous producing projects on his slate, including "Mad About Mambo" (2000), a Belfast-set coming-of-age tale produced by his own Plurabelle Films. Meanwhile, Byrne continued to be in-demand as a character actor, happily toiling away with parts in such mainstream films as "Ghost Ship" (2002), a supernatural thriller in which he played a salvage ship captain whose crew encounters a mysterious ocean liner lost at sea. In the flashback sequences of "Spider" (2002), he played the father of a psychologically damaged man (Ralph Finnes) recently released from a mental institution, who may or may not be truthful about his childhood trauma. After a short role in "Shade" (2004), a little-seen indie about poker hustlers, Byrne appeared in the adaptation of Thackerey's "Vanity Fair" (2004), playing the seductively titled and privileged Marques of Steyne, who offers Becky Sharp (Reese Witherspoon) all she wants - but at a price.
His next film, the remake of John Carpenter's 1976 thriller, "Assault On Precinct 13" (2005), provided Byrne with what Roger Ebert characterized as "one of his thankless roles in which he is hard, taciturn, and one-dimensional enough to qualify for Flatland." In "Jindabyne" (2006), Byrne was a gas station clerk in Australia who goes off on a fishing trip with his pals and discovers the naked body of a young Aboriginal woman killed by a racist old man (Chris Haywood). But instead of calling the police, the men decide to go on with their fishing trip, which causes all hell to break loose when they go home to their wives (which include Laura Linney). Back on television, Byrne starred in one of the more talked about cable shows, "In Treatment" (HBO, 2007- ), playing a seemingly successful psychotherapist and family man whose life starts falling apart because of his intimate involvement with his patients. Each 30-minute episode put on display a full therapy session, which aired five days a week and showcased a regular set of patients (Blair Underwood, Mia Wasikowska and Embeth Davidtz). But critics and audiences were split over being either fascinated or bored with witnessing an entire therapy session, causing some to question the durability of the show. Regardless, there was no conflict over Byrne's performance. In 2008, he earned an Emmy nod for Outstanding Lead Actor in a Drama Series, but lost out to Bryan Cryanston for his work on "Breaking Bad" (AMC, 2008- ). He then received a Golden Globe nomination for Best Actor in a Television Series - Drama, which he promptly won. The following year, he faced off against Cranston again for an Emmy Award in the lead actor category, thanks to Byrne's remarkable performance on the second season of "In Treatment."ich, on a whole, considered Byrne a supporting player. He turned to American television in a pair of miniseries, playing the title role of "Christopher Columbus" (CBS, 1985), then the father of fascism's son in "Mussolini: The Untold Story" (NBC, 1985). Back on the big screen, he co-starred in a few unremarkable features, including "Lionheart" (1987) and "Hello, Again" (1987), before returning to England to take the lead in "Diamond Skulls" (1989).
In the 1990s, Bryne finally began to catch the attention of American audiences, starting with "Miller's Crossing" (1990), a revisionist take on the gangster film directed by Joel and Ethan Coen. As the brooding Tom Reagan, the right hand of an Irish mobster (Albert Finney) neck deep in a citywide gang war with his Italian rival (Jon Polito), Byrne's Reagan exuded a cool confidence, despite routine ass-kickings and a falling out with his boss over the same woman (Marcia Gay Harden). Byrne next essayed the cartoonist who creates the "Cool World" (1992) of Ralph Bakshi's mix of live action and animation, later remembering the experience as "like being sedated for three months." In "Point of No Return" (1993), he played a secret agent who oversees the training of a hit woman (Bridget Fonda). Later that year, he romanced two women - one dark and disturbed (Debra Winger); the other lonely and insecure (Barbara Hershey) - in "A Dangerous Woman" (1993), a rather conventional, but violent psycho-drama from director Stephen Gyllenhaal.
A prominent force in Ireland's film industry, Byrne reportedly passed up an opportunity to play the villain in "Lethal Weapon III" to star as an alcoholic single father in Jim Sheridan's charming fable, "Into the West" (1993). Back in Hollywood, Byrne vied with Steve Martin for the love and custody of a little girl in "A Simple Twist of Fate" (1994) and played an obsessive U.S. Attorney in "Trial by Jury" (1994), though he probably turned more heads as the German philosophy professor who sweeps Jo (Winona Ryder) off her feet in "Little Women" (1994). He attained perhaps his highest screen profile since "Miller's Crossing," starring as a former corrupt cop-turned-expert thief in "The Usual Suspects" (1995), Bryan Singer's excellent neo-noir thriller about a gang of thieves recruited by a mysterious underworld figure to stop a massive drug deal, only to learn there is a bigger score to be had. He next teamed with Matt Dillon and Anne Parillaud for "Frankie Starlight" (1995), a gentle and poignant period romance that saw Byrne fall in love with a French woman (Anne Parillaud) after he helps her enter post-World War II Ireland.
In 1996, the increasingly busy Byrne co-starred with Johnny Depp in Jim Jarmusch's revisionist Western "Dead Man;" headlined the Irish love story "This Is the Sea" (1997); and finally co-wrote, co-produced and co-starred in the charming teen romance "Last of the High Kings" (released on video in the United States as "Summer Fling" in 1998). "Last of the High Kings" was merely the first screenplay to come from Byrne, who earlier proved himself as a prose writer with Pictures in My Head. In fact, Byrne sought through his production deal with Phoenix Pictures to showcase himself as a writer-director. Finding time in his acting schedule was difficult, however, as a couple of directing projects fell through. His continued admiration for European filmmaking led him to star in Wim Wenders' "The End of Violence" (1997), Bille August's "Smilla's Sense of Snow" (1997) and "Polish Wedding" (1998). Meanwhile, he displayed a taste for horsemanship and swordplay as the noble D'Artagnan in John Malkovich's star-studded, but ultimately disappointing historical adventure "The Man in the Iron Mask" (1998).
With his place in Hollywood firmly established, Byrne was free to choose his projects, even if it happened to be a small role in the paranoia-inspiring thriller "Enemy of the State" (1998). Perhaps in a nod to his former days as a priest-in-training, he played Father Andrew Kiernan in "Stigmata" (1999), then flipped to the other side to play Satan in "End of Days" (1999), both of which were released in the midst of the millennial apocalyptic craze. But whether he was playing a man of God or the human incarnate of evil, Byrne proved that his presence onscreen could enliven even the most insipid fare. After two decades removed from the stage, Byrne had a starring role in the Broadway revival of "A Moon for the Misbegotten" (2000), Eugene O'Neill's transcendent drama of guilt and forgiveness. His harrowing performance as the guilt-wracked James Tyrone received overwhelming praise by critics and theatergoers alike. Byrne's handling of the cumbersome, but heart-wrenching monologue - particularly where James confesses his sins to human angel Josie (Cherry Jones) - proved compelling, while his shift f
Filmographyclose complete filmography
CAST: (feature film)
Milestones close milestones
Byrne's new production company is Plurabelle, named after Anna Livia Plurabelle, a character in James Joyce's "Finnegan's Wake".
"I still find it amazing that I'm an actor. I'm not a very gregarious person. I can't bear attention being called to me in a public place, which is ridiculous in a business that pays you to be noticed." --Gabriel Byrne to The New York Times, September 16, 1990
"My career--which I'm extremely happy with--has been a bit unpredictable. Steven Spielberg said to me recently, 'I've never been able to track your career; you turn up in the weirdest places.' I wasn't sure whether to take that as a compliment or as advice to get hold of the real world. Maybe I should cut the crap for a couple of years before I get too ancient and do the big Hollywood stuff." --Byrne quoted in New York's Daily News, March 17, 1993
"I believe that our views on everything from how we perceive nationalities to how we fall in love come from movies we've been exposed to. Having said that, I have to say, no, movies don't have a duty to have a political conscience. I often hear people say, 'I want to go to the movies and be swept away--I don't want to have to sit there and think about my life'--and that's a legitimate desire. It's no good being on a soapbox in the middle of the desert." --Gabriel Byrne quoted in Los Angeles Times, December 20, 1994
"He's very modest, but he does things effortlessly. Only when you're looking at the screen do you notice that Gabriel does all these subtle things with his hands, and especially his eyes." --"The Usual Suspects" director Bryan Singer quoted in The New York Times, September 24, 1995
"People who believe that being incredibly famous or wealthy or powerful is going to make them happier are on a fool's mission. I'm famous enough, that suits me fine. The relentless emphasis on celebrity in this country drives me around the fucking bend. Everywhere you go. The new religion is celebrity, but nobody stops to question what it means when you achieve it. Honestly, I'm scared of the whole notion of fame. You take it on at your own peril." --Byrne in Elle, February 1997
Liam Neeson on Byrne, quoted in Elle, February 1997: "Gabriel is a beautiful man. He epitomizes for me Modern European Man: dynamic, a great potential for hard work, for fun, for introspection and he's a wonderful father, actor and writer. He makes me sick."
"I was walking with my five-year-old son [by ex-wife Ellen Barkin] one day, and I had a mobile phone, which he picked up and just dialed, and I was amazed at his technical dexterity, his lack of fear. I realized that his world and mine are already aeons apart, and I thought, if I were to die, what would he know about me? The kind of world I came from and what it meant for me to leave Dublin and come to America, because I never thought I would. So I decided to write about it." --Gabriel Byrne to Premiere, March 1997
"I was teaching gorgeous 17-year-old girls in miniskirts when I was 22. I'd say, 'Did you translate that passage last night?' They'd say, 'No.' I'd say, 'That's OK, you don't have to.' They specialised in finding my weak points. On my birthday, they said, 'We got you a shirt and tie.' I said, 'Thanks, I'll put it on later.' They said, 'No, we want you to put it on now.' So I took off my jacket and undervest. Then the headmistress walked in. I was standing there with no top on. They were ruthless, those girls." --Gabriel Byrne on his days as a teacher, quoted in Neon, May 1998
In an interview with the London Sunday Times (August 8, 1999), Byrne revealed that he underwent physical and sexual abuse at the hands of the Christian Brothers and a priest from the ages of eight to 12. He was quoted as saying: "I'm not carping about it and I'm not being sorry for myself. To be honest, not a great deal of damage was done to me physically. The damage was emotional, and that took me a long time to shake off."
Byrne on his roles in "Stigmata" and "End of Days", playing a priest in the former and Satan in the latter: "I don't believe in acting as catharsis or therapy. I don't believe in bringing your work home with you, in 'becoming' a character. You do this job, you go home. So there's not much difference between playing a priest and playing the devil.
"I'm talking as an actor. One role is playing a good man who's lost his faith. The other is playing a man who believes he's good and who has lost his soul. So, therefore, the sense of torment is the same." -- quoted in the New York Post, November 23, 1999
Gabriel Byrne on religion: "A firm believer in the Buddhist 'You've got today, no one promised you tomorrow', I don't think much about Catholicism anymore. I was forced to so much as a child. I'm still seduced by the rituals--whoever invented them knew what theater was about, for sure." --quoted to Newsday, April 4, 2000
"A Moon for the Misbegotten" co-star Cherry Jones on Byrne's performance, particularly his take on the powerful confessional monologue: "He is meeting this great responsibility every night, and he never cheats O'Neill or the audience or me. It's one of those monologues that takes no prisoners. It leaves no one unshaken." --quoted in The New York Times, April 26, 2000
Byrne on how "A Moon for the Misbegotten" changed his attitude towards theater: "The whole process of going back to the stage has taught me more about myself than anything else I've done in a long time, and I've come back to totally respect the theater again. . .
"When a play works like this one does, it almost is a sacred experience. You can hear the audience leaning forward to listen. Sometimes you can hear people sniffling, sobbing. I think people start to see their own lives, their own ghosts." --quoted to The New York Times, April 26, 2000
Companions close complete companion listing
Bibliography close complete biography
Please support TCMDB by adding to this information.Click here to contribute