Actor grappled with vulnerability, Irish accent
Q: Can you talk about this poor guy who just wants to go straight so he can see his daughter? Because he’s a quiet guy, and you have to play a lot of that just through the emotion of your face.
A: Yeah, poor Michael. … I feel like my job was to kind of focus on the father/daughter relationship. That we meet a guy who’s led a certain life and having had a serious wakeup call and spent the majority of his daughter’s childhood locked away, he’s looking to make up for that lost time as much as possible. And it pains him greatly.
You know, I kind of spent most of my time working on that feeling and the desire to withdraw and alienate himself from the life that he’s lived up until that point. And hope that there’s enough in there that helps you kind of recognize that he’s capable of the stuff that he’s done in the past and what he then ends up doing in the show. So that you get both sides of it. So you know, it was fun and I was able to draw on lots of my own stuff. But obviously, I don’t have a lot of the other stuff, so I had to make up all of that kind of criminal enterprise stuff.
Q: You’re doing a good job here with the Irish accent. Was it difficult at all?
A: I find it really hard. I also, a few years ago, I did a Northern Irish accent and I thought that would help me in the process. And actually, I think if anything, it probably hindered it because I found that there are some sounds that are so similar and I found it very hard to get out of the intonation and the cadence of the Northern, because it was just — my sense of memory was there. So a lot of the ADR (automated dialogue replacement) I’ve done hasn’t been around sound so much as it has been around kind of the way I finish sentences, and going up at the end, and that kind of stuff. I found it really intimidating to be on set with an entirely Irish cast. Hopefully, the accent is passable.