Archive for the ‘Interviews’ Category
emily   –   September 01, 2021

Jack has done a great new interview and photoshoot for The Observer! You can check out the photos in the gallery and read the interview below.

THE GUARDIAN – Are you here to see man?” asks a Spanish waiter as I walk through the café garden, and points towards the table just beyond the loos where Jack O’Connell stands, his hand raised in a solemn hello. Yes I say. Yes I am.

To sit in the dark and watch Jack O’Connell’s work, from the very earliest characters he played (a boy accused of rape in The Bill, Pukey the skinhead in This Is England) through to self-destructive lad Cook in teen drama Skins and the boy incarcerated with his dad in prison drama Starred Up, followed by a squaddie in Northern Ireland in the Troubles film ’71, is to watch a slow portrait of contemporary masculinity. What O’Connell does, with his eyes and voice, and careful violence, is show the vulnerability beneath his characters’ cracked shells, and I’m keen now to find out how much of them is him, and how much of him is them, and what he’s learned about masculinity.

Unfortunately, though, it is 2021, and it has never been harder to talk about being a man, yet this is how we begin.

“It’s quite a… complex topic, isn’t it?” O’Connell says, taking a swig of his juice (flavour: red). “I grew up in a lot of genuinely macho environments. My dad played football for a team until I was seven, and I can still remember that musk of the dressing room.” This was Derby in the mid-90s, when his late dad, an Irish immigrant, worked on the railways. He wanted to be a footballer too, but injuries got in the way, and then a hairdresser, because it looked glamorous, and then he wanted to join the army, but his juvenile criminal record ruled that out. “The environment with my uncles was a jovial one, with hilarity, honesty.” He leans back. “I don’t think the term ‘toxic masculinity’ is very helpful though. It makes me feel… a certain way to see men’s lives getting clouded by it, and burdened.”

The waiter gives a jolly thumbs-up from across the room.

“Men are a chastised group within society. But my experience with male-dominated crowds was always that they were… gentleman.” Is he sweating slightly? He wipes his face, tanned after shooting in the North African desert, a series about (“Oh, you’ll love this”) the foundation of the SAS. “Misogyny is a pig-ugly trait, but you could also call it a self-absorbed, self-serving self-centredness. And no one likes a selfish cunt.” We relax for a second. “It’s tough. I mean, I read the Guardian. And a lot of time I feel targeted, just by virtue of being a lad.”

I feel bad. I intended this to be a gentle celebration of Jack and his trade, the question about men simply a fun way in, but of course I was ignoring the political fog that we’re sitting in. Would he like something to eat? I join him in an avocado toast. “I suppose, with my work, I’ve been able to explore ‘masculinity’, and those type of themes, and hope to do justice to the reality of them, as opposed to showing them in 2D.” O’Connell started acting at school, where drama classes were “a welcome change from being sent to face the wall in the corridor,” and was soon accepted into the Television Workshop in Nottingham. They met twice a week and all day Sunday, and it seems to have saved him from the kind of life he went on to play on film. On the day he was starting a show at the Royal Court in London he was in real court waiting to find out if he was getting a custodial sentence; when he came to London for auditions he’d sleep on a park bench. He has a rare talent; he credits luck. “I’m hyper-aware of just how much fortune has been involved, a series of events that simply would not happen now.”
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emily   –   August 25, 2021

Jack is featured on the cover of GQ Hype. You can check out the photos from the shoot in the gallery and read his interview below where he talks about The North Water and other projects.

Magazine Scans > 2021 > GQ Hype (August)
Photoshoots & Portraits > 2021 > GQ Hype

GQ HYPE – To see Jack O’Connell drifting on deck through the scenic fjords of Svalbard, 1,000 kilometres north of Norway, you’d never have guessed the traumas he was there to film. En route by boat to Arctic waters to shoot The North Water, a BBC survival drama set on an 1850s whaling ship, O’Connell and his cast mates Colin Farrell and Stephen Graham would soon find themselves reenacting murder, theft, on-board sexual assault and a lot of bloody seal and whale hunting. But for a short period, things were utterly peaceful and even quite temperate under the low-slung Arctic summer sun. “There were some really unforgettable moments,” recalls O’Connell, “of setting sail and ending up in these glacier fjords. Sitting there with your mates, pint in hand, going ‘Look where we are.’ It was mind-boggling.”

Mind-boggling is an apt way to describe much of The North Water, which is based on a novel by the author Ian McGuire. While most of the action takes place north of the Arctic Circle, the series begins in tropical-by-comparison Hull in 1859, where the whaling ship Volunteer is about to set sail on a final, possibly lucrative voyage to fill her hold with blubber. An early hint as to how the trip will pan out comes in the form of a cheery quotation from Schopenhauer during the opening credits: “The world is hell, and men are both the tormented souls and the devils within it.”

Among the undesirables assembled to crew the Volunteer is master harpoonist Henry Drax, played by a hirsute Farrell, and the ship’s surgeon, Patrick Sumner, who O’Connell plays. Drax, fittingly enough for an era when Darwin was the talk of Victorian society, is the living, brutal embodiment of “survival of the fittest.” A bearded man who will brutalise his crewmates for a dram of whisky or even trade his boots for a drink if there’s nobody around to rob, Drax carries a lank, latent threat and acts on pure impulse.

Sumner, meanwhile, is a surgeon and an educated man, albeit one with a murky past. A little uptight and reserved, he reads Homer and keeps a journal to try to make sense of what goes on around him – a mistake on a ship where there is no deeper meaning to life than killing for money. Sumner is also nursing a laudanum addiction triggered by the cruelty he saw in action during the Indian Mutiny and carries a belief in the rule of law that quickly puts him on a collision course with Drax. “It’s important to Sumner to maintain order,” explains O’Connell. “When there’s a victim, he takes it on board as his responsibility to see that the perpetrator is punished. That lands him in Drax’s crosshairs – he’s the target of a lethal killer.”

Sumner is quickly forced to embrace his violent side to survive the Arctic. And how violent. Almost every character in The North Water is packing a knife or a blackjack and most exist exclusively on hard spirits. Life is cheap amid the pack ice; over six parts, as madness and hardship begin to set in for the ship’s crew, the show borders on Moby Dick and Heart Of Darkness territory. “We’re refugees from civilisation,” Graham’s Captain Brownlee says of his crew at one point and the theme of a battle in each man between civilisation and savagery quickly takes root. And if Drax represents savagery then, as O’Connell explains, Sumner is the embodiment of civilisation and rationality. “Sumner has an infatuation towards Drax. He’s trying to academically understand everything, whereas Drax just feels his way through life, acting on impulse, doing whatever pleases him at the time.”
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emily   –   February 05, 2021

SYFY WIRE – In the upcoming film Little Fish, based on a short story by novelist Aja Gabel, there is a worldwide pandemic — not of COVID-19, but of NIA, or Neuroinflammatory Affliction. The chief symptom of this affliction is the obliteration of memory: sometimes as a slow fade, sometimes all at once, like rapid-onset Alzheimer’s. NIA is possibly caused by the absence of an enzyme necessary for memory retention, but who knows — scientists researching the matter may have forgotten. Is it airborne or spread via surfaces? Hard to say. All airplane flights are grounded, but why? To prevent transmission, or to prevent crashes when pilots forget mid-air how to fly? (This happens with vehicles down on the ground, too.)

Trying to navigate this dire new world is a young couple, Emma Ryerson (Olivia Cooke) and Jude Williams (Jack O’Connell), who have to come to terms with what the erasure of their shared memories means.

“We made this film nine months before COVID-19,” Cooke tells SYFY WIRE about the film. “But what I think sets it apart from the pandemic that we’re now in is that the pandemic has different symptoms, and it’s more of a backdrop. Our movie is really about these two characters and their relationship.”

In the interview below, Cooke and O’Connell chat with SYFY WIRE about their input on the script, lucky fires, and their shared Game of Thrones connection.

How weird has it been to see things from your film reflected in real life, when that wasn’t the intention at all?

Olivia Cooke: It feels really weird. Nostradamus-like. Eerie.

Jack O’Connell: Crystal ball-type s***.

There are riot scenes in the film where people try to get access to the cure. You’d think that would be the case in real life, but instead we’ve had riots and protests where people try to prevent that access, pharmacists who have destroyed the vaccine…

Cooke: It’s just lunacy, isn’t it? It’s selfish, at the very least, and completely dangerous at the most. It just angers me, because without vaccines, without science, we’d still have massive cases of tuberculosis, measles, mumps, and polio. I think people are just so privileged and lucky to live in a world where they have not had to deal with those things. And we have got something where science is trying to prevail, to bloody save us all, and there is a huge chunk of humanity trying to intercept that. [Sighs.] The mind boggles.

The week before shooting, you two got to have some input on the script. What changes did you suggest?

Cooke: Some of the … changes we made were … relationship-based, to what felt more natural and realistic for us as actors. We probably got rid of some cheesy moments that, as Brits, we didn’t feel we could do with the sincerity that the writer was asking of us. We maybe took the piss a bit more, in lieu of other modes of affection. But that might be me making it up because I can’t remember!

O’Connell: It was good that we had the time to focus on that. And there were other areas where we got to raise the stakes a little bit as well. In the script, Jude had a past drinking issue, and I just thought, “He’s a musician. He’s been on the road. Why don’t we try and delve a little further into that, and actually make it a thing?” Because I didn’t want the film to just gloss over what is quite a pertinent issue. And so this becomes the reason that Jude can’t proceed with an experimental cure.
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emily   –   September 27, 2017

Photoshoots & Portraits > 2017 > The Sunday Times

THE TIMES – Most people know the story of Jack O’Connell. The bad boy from Derby; the teenage delinquent turned Bafta-winning Hollywood actor; the go-to guy for a “troubled youth” tale; a skinhead in This Is England, a sexy, self-destructive lost boy in Skins. He dates pop stars and supermodels; he gives interviews with a hangover. As the tattoo on his biceps says, he is the definitive Jack the Lad.

But that’s not the man I interview one Thursday afternoon in Camden, north London. The guy I meet is softly spoken, calm, seemingly unflappable and with impeccable manners, a guy who gives me tips for the best Sunday roasts in Hampstead, who leans over to pick up my jacket when it falls off my chair, who offers to share his last cigarette and who orders two scones with cream and jam at the gastropub where we meet around the corner from his new home. He moved here in May from east London, where he’d lived for years. “I had my local pubs I went to,” says the 27-year-old. “I’d speak to all the old fellas in there, go for two or three pints, then lock-ins would ensue.” He’s already finding new watering holes with the same “old fellas” in NW1: “I like a pub, me. You can have a nice boogie in some pubs.”

This summer, O’Connell has risen to a whole new level of fame after starring in Tennessee Williams’s Cat on a Hot Tin Roof, directed by Benedict Andrews, at the Apollo Theatre. He plays Brick, a broken, alcoholic, ageing football player who is grieving the loss of his best friend and whose marriage is falling apart. O’Connell says he has enjoyed the routine of theatre and the opportunity to evolve his character, though, “I’m over halfway through and I feel I could be better. I wonder if it would be more truthful if I took the edge off, instead of belting it out,” he thinks aloud. “Because I’m really starting to feel sorry for people in the front row.”

Certainly they get an eyeful. The play opens with O’Connell sitting naked and spread-eagle under a shower and, predictably, his full-frontals have received much publicity. (“Worth coming all the way from Stoke-on-Trent for!” one woman trills in the interval the night I attend.) He says he has “got used” to the nudity and likes the “immediate intimacy” of marriage it establishes between him and his on-stage wife, Maggie, played by Sienna Miller. He describes his co-star as “wonderful. A powerhouse. She’s just solid,” adding that she started a tradition of a “company cuddle” with the cast before every show. “Every time we’re on stage, she’s energised,” he says. “Even as recently as our last performance, she’s trying new things, which is exciting for me, too.”

I wonder how he copes with his sudden sex-symbol status. I tell him George Clooney once said that the level of attention he gets is embarrassing. Does O’Connell feel the same? “I’m willing to put money on the fact that George Clooney is not embarrassed about it at all, not a chance,” he laughs (they featured together in the 2016 film Money Monster). “I play characters for a living. If they come across looking like they breathe real air, then sweet. If people want to f*** them as well, sweet — that’s another reaction altogether. But really, I don’t pay enough attention to feel anything towards it. It’s a by-product.” It may be a constructed front of modesty, but I can believe it.
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emily   –   June 05, 2016

YOU get the impression that Jack O’Connell is pretty easy going from the moment you meet him. There’s no pretence, plus addressing someone by their first name before you’ve even met is always going to win brownie points. The Jack you see is the Jack you get. He’s relaxed and all-inviting handshakes, big grins and quick to banter, at ease even after a gruelling press trip that comes with the territory of taking a lead in blockbuster movies.

Money Monster, which is in cinemas now, was shot in New York and called for the streets of the city to be shut down. “For me, it epitomised the typical American film-making experience in the middle of downtown New York,” O’Connell confesses, not a sight of a transatlantic lilt in his Derby accent. While he isn’t willing to name names, shooting Money Monster was a different experience from those he has had in the past, and not just down to the sheer scale of the project.

Shooting this was very fulfilling. I’ve been on sets before where you’re thinking this is bullshit, this hurts, people are getting treated horribly, and no one has got any money for the budget so no one can make you comfortable. If you do enough of that you stop expecting to feel comfortable when you’re at work. I’m very thankful for all those lessons, but when I was finally on this multi-million-dollar set in the middle of New York I could feel a real sense of gratitude.”

Another thing that you notice is that O’Connell is a genuine optimist and a thinker too, although not in the sense that he’s watching his words. On his first day on set, was he intimidated by acting alongside household names? “No more than anyone starting a new job amidst very esteemed colleagues.” Instead the 25-year-old focused on the opportunity presented. “You’re offered a level of confirmation that people are going to see your movie and this can make you feel very confident, which I chose to dwell on more.”

It wasn’t just his on-screen peers that may have been intimidating. Sat in the director’s chair was Jodie Foster, herself an Academy Award-winning actress with 50 years in the industry to her name who has done nothing but sung praises about her experiences working with O’Connell, telling Vogue: “He works so hard and he brings so much to the equation.” The film marks the second time that he has worked with an actress-turned-director. The first, Angelina Jolie, cast him in Unbroken, in which he portrayed Olympian and prisoner-of-war survivor, Louis Zamperini. He notes the film as his proudest professional moment. Describing Zamperini as a “hero” and a tale so epic that, “if you wrote it, people would chastise it.”

Read more of the interview at the source

emily   –   May 21, 2016

Jack O’Connell, whose previous lead roles include Starred Up, ’71 and Angelina Jolie’s Unbroken, discusses his latest film in which he plays a disgruntled New Yorker with a grudge who takes George Clooney’s character hostage in the financial thriller Money Monster, directed by Jodie Foster.

Seeing Round Corners at Turner Contemporary in Margate explores the role of the circle in art. From sculpture to film and painting to performance, the exhibition brings together works by leading historical and contemporary artists including Leonardo da Vinci, Barbara Hepworth, JMW Turner and Anish Kapoor. Art historian and critic Richard Cork reviews.

Jason Solomons rates the contenders for the Palme d’Or as the Cannes Film Festival comes to an end this week.

Spymonkey’s The Complete Deaths brings all of the killings in Shakespeare’s works into one play. Kirsty speaks to actor Toby Park and director Tim Crouch.

emily   –   May 17, 2016

Photoshoots & Portraits > 2016 > Flaunt

FLAUNT – Jack O’Connell pauses, rakes his knuckles across his knees, and shouts, with a northern English kind of muscularity, “Ooff.”

I’ve just asked him to describe his perfect night out—his version of a truly good time. The 25-year- old is sitting with me today to talk about the future. He doesn’t want to trip down the path Hollywood continually prods him along; to play the scar-faced bullyboy for the rest of his life. Had I asked him this question back when he was auditioning for parts at the Royal Court, in the thick of a year-long Young Offender’s Referral Order as a late teen, I suspect his answer would have been brief: “To stay out of jail.”

Instead, he talks about wide horizons. Good music, a decent crowd, a stunning backdrop. Oh, and nice quality beverages. “Not just tinnies.”

O’Connell—who stars this spring in Jodie Foster’s reality TV thriller, Money Monster—grew up in rural Derby. You can trace the trouble he got into there along the ridge of his forehead, where flesh is divided by thick, ruler-straight stress marks. It’s a toughness that has brought him film roles and fashion gigs; from a starring part in David Mackenzie’s drama Starred Up (2013)—where he plays a savagely hotheaded prisoner—to a Prada shoot with Craig McDean—where he appears in a taut, noisily patterned turtleneck, swizzling a gin tumbler. Shane Meadows spotted his leatheriness early on, casting him as bovver-booted gang protégé in 2006’s brilliant, bleak, fascism tome, This Is England.

There was always a strange sadness to O’Connell’s violence, though. In an early days This Is England audition tape, he raps as part of a three-piece hip-hop group, a knock-off designer tee jangling around his knees. “I’m a tough little cunt and I’ve got no hair,” he spits, almost melancholically. “I’ll put you down and I don’t care.” Then there was ITV’s cop soap The Bill, in which he depicts sexually abused 13-year-old Ross Trescot, who rapes a middle aged policewoman. For the largest part of O’Connell’s decade-long career, he’s played characters that are bad because bad things have happened to them: in turn, his performances are both brutal and beckoning.
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emily   –   May 13, 2016

YAHOO – Jack O’Connell is just anonymous enough — for now, anyway — that unfamiliar viewers who see Money Monster are going to be stunned to discover he was brought up in Derby, England. The 25-year-old Brit nails the Queens accent, along with the borough’s blue-collar sensibilities, as Kyle Budwell, a man so enraged by a bad, savings-depleting stock tip that he takes hostage the TV financial guru (George Clooney) responsible for the bum advice.

O’Connell has earned acclaim in a series of low-budget British-produced films like This Is England, Starred Up, and ‘71. He also won wide praise for his lead role in his Hollywood breakout, the Angelina Jolie-directed WWII drama Unbroken, although the movie failed to live up to its pre-release Oscar hype. And while he played a mild-mannered soldier in that film, Money Monster shows O’Connell simmer in a performance that manages to upstage both his Academy Award-winning co-stars, Clooney and Julia Roberts. It’s no wonder the Oscar-winning actor who directed them, Jodie Foster, plucked a guy from Derbyshire to play a New Yorka.

At the Los Angeles press day for Money Monster, O’Connell revealed another quality: being a candid, grateful, soulful, introspective interview. He said actors can be a–holes to each other. He gave a truthful assessment of how his hard-scrabble upbringing in the U.K. would have lead him down a dark path had he not made it as a performer. And he expressed frustration over the process of auditioning to play a young Han Solo in an upcoming Star Wars spin-off, a role that went to Alden Ehrenreich instead (the announcement came just hours after our interview). Few 25-year-old Hollywood neophytes would dare give such an honest response given the politics of the industry and what it could mean for future opportunities. Then again, few 25-year-old Hollywood neophytes have the chops that O’Connell possesses.

Like Unbroken, one of the last films we saw you in, Money Monster is directed by an Oscar-winning actress who is more about filmmaking these days. Developing trend, or pure coincidence?
Pure coincidence, I would say, mate. I mean if it is a trend then more female directors, please. But that’s speaking selfishly. I consider myself fortunate. Angelina I’ve stayed in touch with, she’s a very loyal person. She came and watched my play, The Nap. We did it up in Sheffield [England]. It was off the circuit, a little bit, in terms of London. I invited Angelina along, said, ‘Look, I know you’re in the country. I’m doing this play if you want to come and see.’ And I couldn’t believe it, she turned up. I think going anywhere with her level of stardom is quite an issue. But she doesn’t let it impede her. I think that is very admirable.

What was your impression of Jodie as a filmmaker?
I loved her level of commitment. She was always there. And though she was an actor, she was never in her trailer, which is alien because actors love trailers. Some love them too much. But she’s very driven… Jodie kept me on my toes.

Did you see any similarities in the filmmaking approaches of Angelina and Jodie, given they’ve had somewhat parallel paths?
I think they both recognize that everything you do as an actor is at some kind of cost. Whether it’s emotional or physical or financial or whatever. Not all directors respect that. Not all directors care about that. And I think that can also be a very effective environment to work in as well. But, I certainly appreciate the level of consideration that Jodie and Angelina both kept when they were delivering their direction and trying to steer my performance… It makes me feel like going the extra mile then.
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emily   –   May 13, 2016

COLLIDER – From director Jodie Foster, the real-time, high-stakes thriller Money Monster follows financial TV host Lee Gates (George Clooney) and his producer, Patty Fenn (Julia Roberts), as they are put in an extreme situation when a young man (Jack O’Connell) who has lost everything takes over their studio. During a tense stand-off that’s broadcast to millions on live TV, Lee and Patty must unravel the mystery behind a conspiracy that led to the disappearance of $800 million of investor money.

At the film’s press day, actor Jack O’Connell sat down with Collider at the Four Seasons Hotel in Los Angeles for this exclusive interview about what drew him to Money Monster, making the accent feel lived in, and whether his character was seeking redemption. He also talked about playing a cowboy in the upcoming Netflix series Godless, set in 1800s America. Be aware that there are some spoilers.

Collider: This is a wholly original adult thriller, it’s smart and relevant, it relies much more on character development than action sequences and set pieces, it’s opening in summer movie season and it’s directed by a woman, which is very rare these days. When you got this script and read it, what was the draw for you?

JACK O’CONNELL: Just the reality of it all. What personally makes me feel very excited, as an actor, is when a film is brave and bold and it exposes wrongdoings, which are real. And it was a great opportunity to step into the shoes of someone that I could find quite instantly relevant. Being the same age, I’m sure if I wasn’t acting, I’d probably be a lot worse off than Kyle is. That was quite instantaneous, the way I was able to adopt that, and that was very attractive. But also, to be in there with Julia [Roberts], George [Clooney] and Jodie [Foster], it gives you an instant gratification.

Doing an accent is a challenge, in and of itself, but in this film, you have a lot of dialogue. Does that make it even more challenging?

O’CONNELL: It can never be an impersonation. I can never be trying to imitate. I have to feel like I’m giving something that’s lived in and natural. That’s the main challenge. It’s made a lot easier when all of the content is on the page ‘cause then you have something very definite to work towards. Also, sometimes in a scene, you might go off page, so you have to give yourself enough room and prepare enough. That way, when you do find yourself in that scenario, you have something that you believe in. Otherwise, it’s just too much to juggle. It requires preparation. I can’t imagine taking on any role without trying to figure them things out first.
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emily   –   May 12, 2016

Photoshoots & Portraits > 2016 > Evening Standard

EVENING STANDARD – A bright, crisp, spring afternoon in Mayfair and Jack O’Connell — dressed almost entirely in Dior, his scuffed blue suede Adidas the only nod to his pre-fame life — is sitting on a velvet sofa in one of the best suites at the Dorchester, reflecting on the downsides of stardom.

My whole life’s different,’ he says in his thick Derby accent. ‘I can’t live the life I grew up living. I used to enjoy going to the football, being around ordinary folk, or so-called ordinary folk, and family get-togethers. Now even they’re difficult. If I go to certain dos every f***er in there’s gonna want a photo.’ Then there’s the small matter of his (perfectly passable) ‘English’ teeth: ‘Whenever I go to LA, people tell me I should get my teeth done. Unless they want theirs f***ing rearranging as well I suggest they keep their mouth shut. My teeth are my teeth and I’ll be f***ed if I’m ever going to do a job on them just to serve their purposes. Well f*** ’em anyway.’ He gives a blast of infectious laughter. ‘I’m not Hollywood. There’s not a bit of me that ever wants to consider myself “Hollywood”.’

It’s hard not to think he may have to acclimatise. Just 25, O’Connell has stacked up an impressive collection of roles, including outstanding performances in Starred Up as a violent prisoner, and a turn as a British soldier lost in a riot in Belfast in ’71. This summer he’s set to go stratospheric: in July he stars alongside rumoured ex- girlfriend Cara Delevingne (more of whom later) in Tulip Fever and plays a Czech soldier in HHhH with Rosamund Pike and Mia Wasikowska. Before that, you can catch him in the Jodie Foster-directed thriller Money Monster, out today, in which he stars alongside bona fide Hollywood royalty Julia Roberts (‘a dream to work with’) and George Clooney (‘piss funny’).

Not to mention his relationship with Angelina Jolie, who cast him as the lead in her 2014 Second World War biopic Unbroken and has become a kind of mentor. Days before we met she flew to Sheffield by helicopter to see O’Connell in The Nap, the play he was starring in at the Crucible Theatre. ‘She just came up with a friend. Proper.’ She’s even met his family — after casting him in Unbroken, she took ten of his closest friends and family members out for a pub supper, which must have been a little surreal. ‘She wanted to meet my people,’ says O’Connell. ‘We all went to this place out of the way in Derbyshire, a pub where you can eat nice food. She came up on her own, man. She had some security people but they weren’t really involved and, yeah, we were all just sat around.’ Jolie, meanwhile, has said she’s ‘in awe’ of him and hailed his talent as ‘a gift’.
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