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Lost soul: Aidan Gillen is taking on an existential crisis in the spiky Mister John
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Sex! Drugs! Dragons! It's all grist to the mill for Aidan Gillen. But though the Irish actor has been in three of the most talked-about shows of the past 15 years, he's none too enamoured with big-budget spectaculars – and even less so with the life they offer


Aidan Gillen is sitting in a first-floor suite of a grand old Edinburgh hotel. Overlooking the city's castle, the room comes with an impressively stocked honesty bar – pour your own drinks, pay later. Gillen is intrigued by the arrangement. "Do you have to pay for soda water?" he muses. "It's on the house, surely?" Deciding against testing this theory, he proceeds to offer an anecdote about an acquaintance who once took a thirsty group to an honesty bar, pretending to be a guest. "Then he passed out."

The Irish actor was once dubbed "dangerous" by Harold Pinter, after the late playwright saw him in a Broadway production of his work The Caretaker; and his best-known characters have certainly been brashly flamboyant – the predatory advertising exec Stuart in Queer as Folk, the hungry young mayor Tommy Carcetti in The Wire. But Gillen doesn't look the sort to indulge in such raucous behaviour in real life. In fact, judging from previous interviews, "diffident" might be a better choice of word to describe Gillen. Most profiles paint him out to be painfully reserved – "an heroically uncomfortable array of twitches and leers", said one writer – though that seems a mite unfair.

Today, there is no twitching, no leering, no facial ticks at all for that matter. But adjusting to the demands of fame, he admits, has not been easy – stretching back to 1999 and Queer as Folk. "People would come up to you and call you by your character name. I'd be like, 'Fuck! This is how it works.'" At first, he hated it.

Over time, as the roles changed, so did the name-calling – and his attitude towards it. In Ireland, where he lives with his wife and family, people shout "John Boy" at him, after the Dublin gang leader he plays in the Irish show Love/Hate. "I have no issues being called a character name now," he admits. "I quite like it."

It fits with a desire to hide behind his characters, which may account for why he considers himself only "vaguely recognisable" – and why, the day after our interview, he's able to stroll the streets of Scotland without hiding behind sunglasses. He's in town to support Mister John, arriving for the drama's premiere at the Edin-burgh International Film Festival (though apparently he took some persuading to do interviews, believing nobody would want to talk to him).

If he's a head-turner, it's more for his looks than his public persona. Now 45, and with those baby-blues as bright as arc lamps, there's something boyish about him, a quality undimmed by his dark hair greying round the edges.

This sex-symbol status flowed from Queer as Folk, the first of several landmark shows Gillen has slipped into. Russell T Davies' frank depiction of life in Manchester's gay scene saw the Irish Catholic Gillen indulge in explicit sex – although he never caught the flak he was expecting. While that was ground-breaking, Baltimore drugs-drama The Wire redefined the way we thought about television, unfolding in novelistic detail. Typically of Gillen, he insists on taking little credit for its success. When he arrived for the third season, "It was on the map, but it wasn't massive. I think it was Season Four that people really noticed it." He attributes that "largely" to the quartet of school kids who dominated that part of the show. "People really latched on to that."

Game of Thrones gave Gillen the third touchstone on his CV – playing the scheming Petyr "Littlefinger" Baelish. Unlike The Wire, which became the box-set to own after its fifth season ended in 2008, this quasi-medieval fantasy has escalated in popularity from the get-go. "It's one of the biggest TV series in the world now," he nods. "But again, it's a huge ensemble thing; you're never carrying too much of that weight. Nobody is. I'm in and out of it."

In danger of sounding falsely modest, Gillen does acknowledge, on being pressed, that being in three such important shows is, "not just luck. I'll go after stuff; I think I can read a script and say, 'This is good'; and if it's not good, then I'm not going to go after it. Filtering it that way, whatever you end up in is going to be good. You don't always get it right, but those things [that don't work] don't show up so much."

In the case of Game of Thrones, Gillen certainly did his homework, having read all the books in A Song of Fire and Ice, the series by George RR Martin that form the basis of the show. So can he give us an informed explanation as to why it's been so successful? "Tits. Beheadings. Wizards," he jokes, before adding: "Big story, real characters rooted in reality with magic and sorcery on the periphery but family, war, death, power… all these things, they're universal themes." Not one to over-analyse, he simply seems happy to be involved. "I guess that's where I make my living right now."

His involvement also allows Gillen a career in the sort of films he wants to make – low-budget British gems such as two movies he made for the under-appreciated director Jamie Thraves: twentysomething drama The Low Down (2000), playing the restless Frank, and the gritty Treacle Jr (2010), which saw him take the title role, an effusive, eternal optimist. "I've probably had my best time acting – or not acting, or trying to not act – on things like The Low Down or Treacle Jr," he says. "I'm happiest doing things like that. Not just because they're lead roles, but because there's more freedom in them."

Mister John, a sparse but spiky drama, feels like a distant cousin to those films. Gillen plays Gerry Devine, who arrives in Singapore after his brother dies, to attend to his affairs. Leaving behind his rocky family life, he picks up the threads of his sibling's existence – from wearing his clothes to frequenting the bar he owned. "Gerry's enjoying being lost," says Gillen. "It seems far preferable to his life back home in London." It's a theme that resonated with Gillen. "Personally, I quite like getting lost like that and not knowing what's going on."

There was plenty of time for that, it seems. "I hadn't been to Singapore before," he says. "I hadn't been to the East at all. Anywhere further than Turkey, which isn't really the East, although it's getting there. I felt Singapore was quite Western, actually, more than I was expecting, and had an air of Los Angeles about it."

Directed by Christine Molloy and Joe Lawlor, who made the acclaimed art-house film Helen, Mister John is not without its lighter moments – not least a bizarre scene in which Gerry is bitten by a snake and the venom causes an involuntary erection. Gerry is forced to take a painful trip to an acupuncturist, where needles are stuck into his manhood; thankfully, Gillen didn't go Method for the role. "She wouldn't do it," he smirks, referring to the actress in the scene. "She wasn't a real acupuncturist. I said, 'What about the one in my hand?' She couldn't get it out!"

Gillen has a penchant for the twisted – when he made Dominic Savage's 2009 drama Freefall, one memorable scene saw him clinch a multi-billion-pound deal and then disappear to the toilet for a bout of celebratory self-relief.

Clearly, though, he leaves all his demons at work: he has been married to Olivia O'Flanagan since 2001 (they met years ago, in Dublin), they have two children, 15-year-old daughter Berry and 12-year-old son Joe, and they live on the west coast of Ireland, preferring tranquillity to the buzz of the city.

For one who seems to craves domesticity, is it difficult to be away from the wife and kids so often? "It's worked out fine – I'm never away for that long," he says, explaining that "for 50 per cent of the time" he's at home. "Even when we were doing The Wire, they were coming over a lot or I was going back to London. Once you establish a bit of trust with the producers and they know you're going to come back… I think maybe some actors miss a plane. But I don't!"

Born in Drumcondra, Dublin, as Aidan Murphy (later adopting his mother's maiden name for Equity reasons), Gillen is the youngest of six, the son of a nurse and an architect. His early days were spent making "fake movies in the back garden" with his siblings. They didn't even use a video camera; it was all pretend – with Gillen cameraman, director and star. Not that he was the only one in the family with artistic ambitions. His sister Fionnuala Murphy is an actress, best known for her appearance in Stephen Frears' take on Roddy Doyle's The Snapper, while brother John Paul is a television writer and playwright.

When a neighbour decided to try out for Dublin's Project Arts Centre, Gillen went along, partly for the social aspects, and soon graduated from bit-parts to A Midsummer Night's Dream's Bottom. Three years later, when he was 19, he gained his first film role, "gate-crashing the set, basically" of Jack Clayton's adaptation of Brian Moore's The Lonely Passion of Judith Hearne, earning the princely sum of £700 – a lot of money back then – for playing "Youth in Liquor Store".

His first real breakthrough came in Antonia Bird's 1993 Bafta-winning television drama Safe, playing the homeless youth Gypo. And, four years later, a small role in Mojo, Jez Butterworth's film adaptation of his own 1950s-set play about Soho gangsters, proved a turning point. He played, with some brio, the psychotic Baby. "This trail of villains, these darker roles, started around there. The stuff I'd done before that was quite the opposite."

Mojo saw him befriend co-star Harold Pinter – and it was the playwright who later recommended him to director David Jones for The Caretaker. While Gillen has frequently returned to the theatre – from Shakespeare's The Tempest to David Mamet's American Buffalo – Jones's 2003 production was a catalyst: despite playing opposite the more experienced Patrick Stewart and Kyle MacLachlan, Gillen was the one walking away with the plaudits and a Tony nomination. ("Of the three," wrote The New York Times, "only Mr Gillen is fluent in the language of ambiguity that is the currency of Pinterland.") When the play opened, the late Bob Colesberry, an executive producer on The Wire, saw Gillen roar across the stage – and his role as Tommy Carcetti was secured.

More recently, Gillen made his first concession to major-league Hollywood, playing a CIA operative in Christopher Nolan's conclusion to his Batman trilogy, The Dark Knight Rises. "That was me gigging for a few days, for fun. It was interesting…" He breaks into an uncomfortable laugh, before quickly extolling the virtues of Nolan. Understandably, he says that if he had to choose between a blockbuster bit-part and a low-budget lead, the latter would always win out. "I wouldn't be so quick to take on one scene in a film like that any more, I think. " He stops himself before he says anything else. "Ah, forget it."

Gillen is fully aware that he needs to maintain his "name" to help generate financing for micro-budget projects – and he's been able to spend the past year shooting Brit-flicks Still and Calvary in between bouts of Game of Thrones. But keeping himself castable doesn't mean casting about for any opportunity. "I try to keep my integrity," he says. "I don't want to be in Hello! or on Celebrity Big Brother." In fact, the only reason he did the Batman film was for his kids. "To get some cred with them. They might not be too bothered with some of the stuff I've done over the years, but Batman… that's another matter."

‘Mister John’ (15) opens on 27 September

Gillen to bring Haughey to life in drama trilogy
Aidan - GOT - Snap Hiss Animated

HE played slippery mayor Tommy Carcetti in the 'The Wire' and a gangster on the streets of Dublin in crime drama 'Love/Hate'.

But Irish actor Aidan Gillen is about to bring to life one of the country's most controversial politicians on the TV screen: Charles J Haughey.

The 44-year-old was being tipped to play the disgraced politician in RTE's forthcoming 'Citizen Charlie', a trilogy of 90-minute dramas charting the emergence of the mesmeric figure and his pursuit of power, wealth and glamour.

Best-known for playing John Boy in gangland drama, 'Love/Hate', Gillen will be virtually unrecognisable in the drama as Haughey – the leader of a group of hard young men in mohair suits who replaced De Valera's old guard during the 1960s.

One insider who witnessed Gillen screen test for the Haughey role described his performance as "chilling". Among the qualities much associated with the late politician, he was described by columnist Bruce Arnold as "Skilful, adroit, ambitious, but also fearful and feared, devious and dishonest".

"The hair and make-up was perfect to make Aidan look like Charlie Haughey in the 60s," said a film source.

The casting of Gillen in the title role of Haughey will be a major coup to RTE, which has given 'Citizen Charlie' a budget of €3.7m.

"RTE require an exceptional actor to play Haughey but also someone who would be known in both the UK and America."

Irish Independent

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Via Dazed Digital



Interview and PICTURES! Under the cut: Read more...Collapse )

Aidan Gillen is Standing with the Women of Egypt.
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Aidan Gillen is Standing with the Women of Egypt. Will you?


Please sign the petition - and retweet the post so that more names can be added.

Aidan Gillen - "Mister John" Premiere
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MISTER JOHN, with Aidan Gillen & from the directors of HELEN, is out in the UK on the 27th September.

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This article is a review of MISTER JOHN.
19 August 2013
By Hemanth Kissoon

“Don’t be surprised if you’re not fully yourself,” Doctor (Maryanne Ng) to Gerry Devine (Aidan Gillen)

Grandiose, ominous music greets us. A lake in a beautiful Singaporean landscape. The camera skims the water. A flip-flop floats, leading to a man laying face down. It is John Devine, an ex-pat who has made a life for himself in Asia. His brother Gerry flies out from London at the news. MISTER JOHN might have been a travelogue of revenge à la GET CARTER or THE LIMEY, or Westerners causing mayhem in the vein of ONLY GOD FORGIVES. Instead this film is a gently paced look at family, and various kinds of grief.

Gerry had never visited John at his sibling’s adopted country. He identifies the body at the morgue, where he meets John’s widow Kim (Zoe Tay). Welcoming and kind, she offers him to come and stay at their home, and then the use of the second car. Gerry at first declines the invitation, wanting space at a hotel. Ignoring calls from his wife, we get over the course of the film images of his British home overlaid by the sound of arguments. It is unclear what they are at loggerheads over, but Gerry is clearly escaping from a fractious home life. Writer-directors Joe Lawlor and Christine Molloy, who made the taciturn and moving HELEN, still retain their economy of cinema language and spoken dialogue, but infuse MISTER JOHN with a warmth and tenderness, as well as regret – don’t worry, they haven’t gone all mawkish.

At the hotel Gerry has a bizarrely humorous encounter with a friendly drunken john, who knew his brother, and a prostitute; the latter chastely ends up staying in his room. The incident is a catalyst for Gerry moving in with his brother’s wife and teenage daughter. And this begins the lead subsuming himself into John’s life. Initially, it is just the graciousness of the host telling him to sleep in their bedroom. However, it is Gerry’s lost luggage, meaning he has to wear John’s clothes, where style, as it were, and vicarious living meet. There is mutual attraction between Kim and John, Singapore is exotic and sunny, and “Mister John’s” – his brother’s bar - is an exciting job. The film focuses on Gerry’s tangle of conflicting emotions and desires, and his attempts to unravel; all while a melancholy sits on him.

The filmmakers thankfully never give easy answers, nor portray relationships and choices as clear-cut. The only major criticism is that at times the narrative has a disjointed tenor, scenes having a random feel. Perhaps the directors wanted the audience to be a little discombobulated like their lead? There is a seedy undercurrent to proceedings, which keeps MISTER JOHN from being a languorous journey.

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Aidan Gillen tells of his Chat Roulette addiction
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Aidan Gillen tells of his Chat Roulette addiction, starring in Game Of Thrones and more in revealing interview

Irish actor says “I really get off on not being remembered and not being recognised"


Hollywood star Aidan Gillen has revealed he loves ruining the moment for online sex surfers – by appearing on screen wearing an animal head.

The former Love/Hate sensation admits he’s become addicted to Chat Roulette, an internet video site loved by single males.

And the TV actor gets huge pleasure logging on dressed up in his latest evil look, which he feels helps tap into the psyche of unsavoury characters.

He added: “I went around Barcelona once with a sheep’s mask on me for two days. I had a horse’s head somewhere else.

“Have you ever been on Chat Roulette? Fifty percent of it is guys – and you can’t see their face – jerking off.

“But then there will be a group of people at a party or an old lady in Italy or wherever – you just stop where you chose to stop.

“Anytime I go on there, I wear a mask. There’s some horrible stuff going on there. I’m not on it all the time, I don’t want to make myself sound cool.”

After making his TV breakthrough in the comic drama Queer As Folk, the 45-year-old is now more known for his dark portrayal of John Boy in Love/Hate’s or as the schemer Tommy Carcetti in The Wire.

Aidan said: “I’ve played a fair few villains now and mined a seam of dark psychological matter.

“My writer/director friend Jamie Thraves, said, “What’s going on? You started off doing comedy and now you’re murdering babies all the time.”

But the Dubliner – who has become one of Ireland’s biggest acting exports through smash hits such as The Wire and Game Of Thrones – also revealed he refuses to Google himself.

The father of two said: “I don’t look at stuff connected to me, I just don’t like it.

“Especially if you have a personality like mine where you’ll keep dredging through it to find something really horrible.

“And you’re not happy until you find it. It’s a side to myself I don’t want to indulge.”

Now Aidan now reveals he’s planning on moving to Australia – so he can finally get a break from people recognising him.

He told Irish Tatler Man magazine: “I really get off on not being remembered and not being recognised.

“If I finish up here, I try and go to Australia and do a play. Then I’ll come back in three years and try to do something different. It’s never been about getting to the next up.

“I’ll consciously take steps down or sideways or backwards.

“I think most people probably wouldn’t move to the outskirts of Dingle just after season five of The Wire wraps up, but I’ve found living in the countryside to be quite energising.

“Over the years, I have done a lot of travelling around and I kind of got addicted to movement.

“So, as soon as I got somewhere, I immediately started planning to go somewhere else.

“I like to get on a bike, get a tent and head off to an island. Either on my own or with my kids.

“Some of the best holidays I’ve had involve a sleeping bag, a tent, some matches and Pot Noodles.”

And Aidan – who knew immediately “how brilliant” The Wire was when he was given the script – felt the same reaction when he was offered the part of John Boy.

He added: “I can tell a good script when I see one and Stuart Carolan had written one. His writing was very appealing, no matter how dark it got.

“You know a show is getting its message across when a car of hoods rolls onto the set and the driver opens the window and shouts, ‘Here, y’know when youse are all out here pretending to be us? We’re round in your gaffs, r****g your missuses’.”

Aidan has had the same experience with Game of Thrones – which has led to people flocking to him all around the world.

He said: “You’ll have conversations with everyone from housewives on the Aran Islands to pilots in Japan about Thrones.

“Even if I wasn’t in it, I would watch it. It’s got so many stories.

“It’s not just good-looking kids running around.

“HBO is one of the few networks where you can get cast not looking like a model.”

And Aidan feels that part of his and many other Irish actors’ success in Tinseltown is down to our troubled past.

He added: “We have a history of using words to run rings around oppressors. That combined with our inability to shut up.”

The actor found fame playing Stuart Alan Jones in Queer As Folk, which chronicled the lives of young gay men in Manchester.

And he is glad that since the Channel 4 show aired, society has been more accepting of gay people.

He said: “Queer As Folk was a ground-breaker because it wasn’t getting all awkward about itself, it was the opposite. It was brash.

“It was during its original run in 1999 that the Admiral Duncan Bar on Old Compton Street in London’s Soho, was bombed.” Aidan added: “Although that was an individual neo-Nazi, it does give it context.

“Homophobia is probably less prevalent now but there’s always going to be a certain section of society looking for someone to take their aggression out on.”

However, Aidan’s biggest and most unexpected jump has come as a presenter for RTE’s Other Voices programme which showcases Irish music from a church in Dingle.

He said: “I got involved as I was living down there, scamming my way into the gigs and then I was working on it so I didn’t have to scam my way to shows anymore.

“I wasn’t planning on being a TV presenter.”

Read the full interview in Irish Tatler Man.

Aidan Gillen - Mister John
Doctor Who - River Song Shoot Out

Mister John

Dir/scr: Christine Molloy, Joe Lawlor. UK. 2013. 95mins

The second feature from Helen (2008) directors Christine Molloy and Joe Lawlor is another solemn, studied account of a tragic event and the consequences for one individual. Aiden Gillen gives a subtle, finely nuanced performance as a man tempted by the possibility of re-inventing himself and stepping into the appealing life of his late brother.

It is an intriguing premise but the languid, unvarying pace and detached manner adopt by Molloy and Lawlor work against an emotional engagement in the story which makes it more of a film to admire than one that could strike a chord with audiences. Artificial Eye have the UK rights and further festival exposure should follow its world premiere at the Edinburgh International Film Festival.

In many respects, Mister John is a 1950s Robert Mitchum B-movie re-imagined as a melancholy tale of existential crisis that might once have attracted Nicolas Roeg. Jetlagged and shellshocked, Gerry (Gillen) arrives in SIngapore following the death of his brother John. His decision not to phone home is just one of the indications of the relationship problems he has left behind.

He is warmly welcomed by John’s widow Kim (Zoe Tay) and as he starts to wear John’s clothes and involve himself in John’s business affairs it is obvious that he could quite easily stay and make his temporary flight a permanent move.

Gillen is frequently shown in close-up and asked to wordlessly convey all the complex emotional shifts in a man suffering loss, confusion and a lingering sense of anger over his wife’s betrayal. He rises impressively to the challenge and is especially touching when he finally breaks down.

Ole Birkeland’s crisp cinematography and the soaring, Nymanesque musical score of Stephen McKeown are key elements of an atmospheric, abstract production.

Production companies: Desperate Optimists, Samson Films, Akanga Film Asia

Sales contact: Desperate Optimists

Producers: David Collins, Fran Borgia, Joe Lawlor

Cinematography: Ole Birkeland

Editors: Christine Molloy, Joe Lawlor

Production designer: Daniel Lim

Music: Stephen McKeon

Main cast: Aiden Gillen, Zoe Tay, Michael Thomas, Claire Keelan

Game of Thrones star Aiden Gillen: Making my children proud is the only role that matters to me
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Game of Thrones star Aiden Gillen:
Making my children proud is the only role that matters to me

THE Irish actor admits he took on a role in the Batman flick The Dark Knight Rises just to impress his kids.

HE'S starred in some of the hottest shows on the box, but Irish actor Aidan Gillen says he’d rather win the respect of his kids Joe and Berry than major roles.

The 45-year-old Dubliner has admitted that he took the part in Batman movie The Dark Knight Rises to impress his 12-year-old son and 15-year-old daughter.

He has landed parts in much loved dramas such as HBO’s The Wire and Game of Thrones, in which he plays who plays Petyr "Littlefinger" Baelish in Sky Atlantic’s racy fantasy.

But there’s one which matters most.

He said: “That sort of thing really matters to me. I totally did that job for them, to get some cred with them. They might not be too bothered with some of the stuff I’ve done over the years, but, Batman’s another matter.

“I was only on that job for a few days and by the time I was doing scenes when I was falling out of an aeroplane I realised , ‘Oh man! That’s it!’. The job was done.

“But even just to get one scene in the Batman film was exciting, for me and for them.

“So long as they’re not embarrassed about my work. I get a bit of attention, a build up of stuff since The Wire, which has happened in their lifetime since they’ve been around.

“Love / Hate (the Irish crime series shown on STV and about to be repeated on Five) was really big over here. I get a bit of attention from stuff like that and I also present a music programme over here called Other Voices which has folk like Snow Patrol, Ray Davies and Blue Nile’s Paul Buchanan on it.

“But the kids are fine with all that.”

Aidan revealed he had his eyes opened by the experience of filming director Christopher Nolan’s big budget superhero movie, in which he played a CIA agent.

“The way Christopher Nolan worked on that film was amazing. It was almost like he was making a student film on a massive scale. ‘Lets do this, then try that’,” he said.

It’s easy to imagine this chat becoming the life-and-times fodder for later years when Aidan looks back on his work with his kids who he had with wife Olivia O’Flanagan.

“They’ve actually got pretty good taste in what they watch on TV.”

That said, it might be a few years before he lets them watch Queer as Folk. The hit Channel 4 series followed the lives and loves of a group of gay and bisexual men in Manchester in the late 90s, before being remade in America.

It made a splash because of its racy visual content, and, despite having worked for years before landing the part of super-confident Stuart Jones, gave Aidan his breakthrough role in the UK.

He remains thankful for its impact, but is careful not to overplay the significance of the show’s impact in informing attitudes towards same-sex relationships, which have radically altered just over a decade later with marriage and civil partnerships now higher on the political agenda than many would have predicted at the time of the show’s popularity.

He said: “It’s 14 years since Queer as Folk was on, so I have no idea if it helped. It could have been considered a niche drama, but it hit the mainstream when it came out, and I thought that was pretty cool.

“I took that part on thinking it was an exciting role to play, not for any sort of crusade. I’d find it difficult to gauge the effect it had.

“I’d been working for ages before it, so it didn’t feel like a big break. I’m glad it’s still resonating with some folk. It was a ground breaker in television terms, a good time.”

Aidan took off to America after it was made to reclaim his anonymity. The country took to him. He was spotted on stage in New York and landed the part of Tommy Carcetti in critically adored show The Wire.

Since then there have been parts in IRA film Shadowdancer and police drama Identity with Keeley Hawes, as well as a turn in seedy crime romp Love / Hate which was a massive success in Ireland, where he now lives with his family having returned from the States.

“It’s a crime drama, but not a traditional cops and robbers story. it’s more concerned with the dynamics of a gang, and is more concerned with a time and a place - the tail end of the boom in Ireland when the recession hits,” he said.

“The world these guys operate out of is more middle class than you would traditionally expect, it’s not a bunch of guys in tracksuits being chased by the cops.

“When it first went out in Ireland some people were under the impression that it was violent, but the violence is limited by comparison to some other stuff, It’s not excessive and it has meaning. In fact, there were more complaints about a scene with dogs fighting than someone getting murdered in one episode.”

Those who missed the series on STV two years ago can catch it later in the summer when its shown on Channel 5.

Before then, he’s set for the release of one of several indie flicks he worked on last year.

Most imminent is Mister John, a story of brotherly relationships and wanderlust which will be given its world premiere at the Edinburgh Film Festival. It will be screened at the Filmhouse and Cineworld in Edinburgh on 24 and 30 June.

He said: “It’s quite an atmospheric, thoughtful travel movie. I’ve been calling it a ‘psychological travelogue’.

“It’s about a guy who’s unhappy living in London and goes to Singapore where his brother, who he hasn’t spoken to for years, has passed away.

“He goes along and immerses himself in the world of his brother who he didn’t know. It’s quite an arty film. We had a lot of fun doing it.

“I like the Edinburgh Film Festival, and I’ve liked what I’ve experienced of Glasgow’s Film Festival too.”

Aidan Gillen - Fan Q&A's - 2003 to 2007 - Links Updated
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Aidan Gillen: Fan Questions and Answers (2003 to 2007) -

In years past, there was an annual tradition that Aidan participated in with his fans through the now gone and much mourned, from the years 2003 to 2007. The exchange bloomed from just a handful in number the first year to over 50 questions in the final year. (Yes, 50+ ... 2007 was an amazing and generous time!)

Not only did Aidan do this, he put great effort into answering well - at times at length - the questions his fans asked. And often, he replied with intimate truth and great humor. These Q&A's were not just another interview between actor and journalist. They were Aidan sharing a part of himself, his likes and dislikes, his life experiences and his past, in a way that will surprise and delight you.

I have always found them rather endearing, and VERY worth reading. And as there are many new Aidan Gillen fans in recent months that have shown themselves via twitter, trumblr, facebook and livejournal - I wanted to provide you a look into the man, and his generous nature. With permission from Laurie, the former webmistress of, please enjoy:

2003 =
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2007 =

Topics covered include everything under the sun from acting roles, recommendations in music, books and movies, to memories from his childhood. Please enjoy.




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