Spacey admired Farrell's abilities, and brought him onto a little film he was making called, Ordinary Decent Criminal , which garnered newcomer Colin some amount of attention from critics. This gave him the ol' actor itch, and he was quickly off to Hollywood to try and make it big while the spotlight was still on him.
And make it big he did. Joel Schumacher cast Farrell as the lead in his Vietnam bro-story, Tigerland , launching him onto the scene pretty hot with a head-turning performance, seemingly tailor-made to show off all the chops he had: from humor to drama, good looking to dangerous, and an ability to work well within the Hollywood system. Next Colin decided to portray Jesse James in the ill-fated American Outlaws , a spectacular mess of a western that Farrell himself claims to have no recollection of making, due mainly in part, to his heavy drug and alcohol abuse at the time.
I personally spent an afternoon or two watching this Scott Caan infested movie, and I can confirm how magically forgettable it is. But even still, Farrell shines; he charms the viewer through horrible dialogue and pretty cool stunt work, creating a fun, relatable character who's just surrounded by stupid people in a stupid world.
At around this time, Hollywood producers figured out that the best way to get this kid in the picture was by stacking him up with some big names. Hart's War , saw Farrell standing alongside Bruce Willis in a battle of morals and brotherhood in the little seen, but competent enough, prisoner of war drama.
Then Colin was tapped by Steven Spielberg to play the hard-nosed antagonist in the sci-fi-noir Tom Cruise vehicle, Minority Report This was the first role that really made me perk up at the site of Colin Farrell.
Although he admits in interviews that he was more than a little star struck working with Cruise and Spielberg, it in no way shows in the finished product. Farrell goes toe-to-toe, literally and figuratively , with Cruise throughout the course of the film and holds his own, even creating a surprise turn of empathy towards his character in the final act. It's no small feat. Next up was his heart-pounding one-man performance in the sleeper-hit thriller, Phone Booth , which found Farrell caught between rogue sniper Kiefer Sutherland, and hostage negotiator, Forest Whitaker.
The Recruit was his follow-up, and this is another movie I go to bat for. Not just because Farrell showed up to the premiere dating Britney Spears admirable , but also because The Recruit is just sinfully underrated. It's a movie packed with fun twists, smart dialogue and one hell of an Al Pacino performance. Then he made S. Faux-Thespian Era. Having shown how good this boy can shoot guns and really chew on a moment in big blockbusters, the world-weary Farrell, who at this point had only been acting in films professionally for 3 fucking years , decided to pump the brakes on the explosions, and take a few cracks at that Oscar gold while getting the opportunity to work with some of the best in the biz.
This movie, however passable it may be, does contain an amazing performance from Farrell, again surrounded by stupid people in a stupid world , this time while wearing a stupid wig, and trying to sleep with EVERYONE. The movie was panned by critics, practically unanimously, and also happened to have one of the most legendary disastrous press tours just before its release.
It's crazy; I still remember the hype behind this thing, as well as the agonizing embarrassment once it finally hit screens. The New World , saw Farrell teaming up with cinematic genius, Terrence Malick, who at this point was still making movies, instead of poetry-laden horseshit that I wouldn't recommend to my most pretentious enemies, Song to Song is s'okay.
While The New World is itself filled to the brim with poetry-like inner monologue, presenting the mindset of our three main characters caught unknowingly in a love triangle centered on the story of Pocahontas Q'orianka Kilcher and John Smith Farrell , the film still has a narrative through-line, with a beginning, middle and end.
Oh, and a point. Good to have one of those I kid, I kid. And if I may be so bold, I consider The New World to be my favorite of Farrell's career, not just because of the film itself or Farrell's performance in it, but both, and so much more. To be honest, I'm not sure. And again, neither is Colin Farrell. There was a Woody Allen movie too, called Cassandra's Dream , which is aight, but like, not really. The Soul Searching Years. What followed next for Farrell was a wild little ride between the indie actor and the big star within, as he tightrope walked between both previous eras of his career.
Farrell returned to his plucky, dimwit criminal demeanor, and accidentally scooped up a Golden Globe for Best Actor in the process. But the first day of principal photography on that set is one of the profound moments of my life.
It was insane. I puked in my trailer. I was really scared, but there was something even deeper there. He's kind of sublime. He has such a beautiful way of allowing you to experience the telling of a story on film. It's why so many actors would do anything to work with him. There's a grace inherent in everything he does. That's one of the few films I've made that I can watch, and my presence doesn't completely spoil it for me.
The images are so beautiful, even I can't ruin them. I enjoyed watching the storms rolling in every afternoon, and I loved driving my car across the MacArthur Causeway. But to be honest, I lived inside Tobacco Road for that entire shoot. You never saw me coming out of nightclubs in South Beach, because I wasn't there.
I couldn't even make it that far. It was like nothing I had ever read. Director Neil Jordan, promoting the movie in tandem with Farrell, does not want to dwell too much on such matters. So will the new realities of the movie business change how he approaches work? Entertainment News Updated. By Mark Egan 4 Min Read. Editing by Ellen Wulfhorst and Philip Barbara.
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