Paul Bettany
Paul Bettany
Paul Bettanyis an English actor. He first came to the attention of mainstream audiences when he appeared in the British film Gangster No. 1, and director Brian Helgeland's film A Knight's Tale. He has gone on to appear in a wide variety of films, including A Beautiful Mind, Master and Commander: The Far Side of the World, Dogville, Wimbledon, and the adaptation of the novel The Da Vinci Code. He is also known for his voice role as J.A.R.V.I.S. in...
NationalityEnglish
ProfessionMovie Actor
Date of Birth27 May 1971
CityLondon, England
Businessmen lay off human beings from work, businessmen decide to make shirts in Indonesia and use 8-year-old children to do it in order to turn a profit, businessmen make really cold decisions every day. Businessmen run diamond mines. They walk around in the legitimate world. I try to play it more like that.
There's something nice about being able to leave your sense of morality at the door when you come to work in the morning and just be cruel to people all day. It's quite fun. In a lot of my scenes I'm on my own and I would turn up for work and there'd be me and a crew and Ron Howard and it felt like a small, intimate, personal, independent movie. But I hear that's not what it's going to be.
I was brought up Catholic. I'm lapsed. From the age of three I was with the nuns. Now I'm an atheist. I think religion does a lot for us but I can't quite believe it, alas... It's just a personal choice. I love the idea of heaven though. Who doesn't? It's lovely.
You'll still work with some directors where that doesn't happen, and sometimes it's out of necessity because you're in a really complicated, choreographed fight scene and the whole thing is being prevised in a computer, so it's been decided months before, but I think that's sneaking into the way action scenes are shot.
I was born a Catholic and now I'm a lapsed Catholic. I'm something but I'm not a believer any more.
I realized that this story [Shelter] is all about family, family loss, and how it influences you day to day life.
It's weird, because usually if you're British and you go to America you play baddies; but I play naughty people here and goodies in America.
I remember coming on my first set and it being a playground of things I wanted to ask questions about: cameras and lenses and what the lenses do, what's the focus puller doing and how does that work? Why is there less margin for error when there's less light? I was always asking questions and watching directors closely.
I don't want to infantilize the actor; I want to empower the actor. Actors can be many things, but all of the really good ones are really great storytellers, and I'm interested in that. If you're not interested in that as a director then you better be Stanley Kurbrick.
I feel like the world we live in seems to be full of an increasingly grey area, but the culture that we live in seems to be getting really entrenched in black and white positions, and I think it's urgent to talk about that because it's going to kill us all.
I was always waiting for the secret to be handed down to me. Ron Howard asked me what I was waiting for and I went, "Ron, I'm waiting to know the secret. I keep feeling there's some sort of secret that's going to passed on from a director." He went, "Oh no. There is none. You've just got to on and do it and make mistakes and figure it out."