For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
O’Connell’s trajectory this year reads like a masterclass in range. His charming vampire Remmick in Sinners helped prove that audiences still crave theatrical experiences.
It sort of fills me with the promise about cinema-going. I think we’re in quite a frightened era, especially people involved in film [who] are really desperate to know what the future is going to hold.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
O’Connell’s trajectory this year reads like a masterclass in range. His charming vampire Remmick in Sinners helped prove that audiences still crave theatrical experiences.
It sort of fills me with the promise about cinema-going. I think we’re in quite a frightened era, especially people involved in film [who] are really desperate to know what the future is going to hold.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
From Bloodsucker to Cult Leader
O’Connell’s trajectory this year reads like a masterclass in range. His charming vampire Remmick in Sinners helped prove that audiences still crave theatrical experiences.
It sort of fills me with the promise about cinema-going. I think we’re in quite a frightened era, especially people involved in film [who] are really desperate to know what the future is going to hold.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
From Bloodsucker to Cult Leader
O’Connell’s trajectory this year reads like a masterclass in range. His charming vampire Remmick in Sinners helped prove that audiences still crave theatrical experiences.
It sort of fills me with the promise about cinema-going. I think we’re in quite a frightened era, especially people involved in film [who] are really desperate to know what the future is going to hold.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
And he’s having the time of his life doing it.
From Bloodsucker to Cult Leader
O’Connell’s trajectory this year reads like a masterclass in range. His charming vampire Remmick in Sinners helped prove that audiences still crave theatrical experiences.
It sort of fills me with the promise about cinema-going. I think we’re in quite a frightened era, especially people involved in film [who] are really desperate to know what the future is going to hold.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
And he’s having the time of his life doing it.
From Bloodsucker to Cult Leader
O’Connell’s trajectory this year reads like a masterclass in range. His charming vampire Remmick in Sinners helped prove that audiences still crave theatrical experiences.
It sort of fills me with the promise about cinema-going. I think we’re in quite a frightened era, especially people involved in film [who] are really desperate to know what the future is going to hold.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Fresh off the massive success of Sinners, which raked in $368 million and earned Ryan Coogler’s team a Golden Globe, O’Connell is now terrifying audiences as bleach-blond cult leader Sir Jimmy Crystal in 28 Years Later: The Bone Temple.
And he’s having the time of his life doing it.
From Bloodsucker to Cult Leader
O’Connell’s trajectory this year reads like a masterclass in range. His charming vampire Remmick in Sinners helped prove that audiences still crave theatrical experiences.
It sort of fills me with the promise about cinema-going. I think we’re in quite a frightened era, especially people involved in film [who] are really desperate to know what the future is going to hold.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Fresh off the massive success of Sinners, which raked in $368 million and earned Ryan Coogler’s team a Golden Globe, O’Connell is now terrifying audiences as bleach-blond cult leader Sir Jimmy Crystal in 28 Years Later: The Bone Temple.
And he’s having the time of his life doing it.
From Bloodsucker to Cult Leader
O’Connell’s trajectory this year reads like a masterclass in range. His charming vampire Remmick in Sinners helped prove that audiences still crave theatrical experiences.
It sort of fills me with the promise about cinema-going. I think we’re in quite a frightened era, especially people involved in film [who] are really desperate to know what the future is going to hold.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
It’s an unexpected statement that perfectly captures the 35-year-old British actor’s contrarian energy—the same unpredictable quality that makes his villainous roles so magnetic.
Fresh off the massive success of Sinners, which raked in $368 million and earned Ryan Coogler’s team a Golden Globe, O’Connell is now terrifying audiences as bleach-blond cult leader Sir Jimmy Crystal in 28 Years Later: The Bone Temple.
And he’s having the time of his life doing it.
From Bloodsucker to Cult Leader
O’Connell’s trajectory this year reads like a masterclass in range. His charming vampire Remmick in Sinners helped prove that audiences still crave theatrical experiences.
It sort of fills me with the promise about cinema-going. I think we’re in quite a frightened era, especially people involved in film [who] are really desperate to know what the future is going to hold.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
It’s an unexpected statement that perfectly captures the 35-year-old British actor’s contrarian energy—the same unpredictable quality that makes his villainous roles so magnetic.
Fresh off the massive success of Sinners, which raked in $368 million and earned Ryan Coogler’s team a Golden Globe, O’Connell is now terrifying audiences as bleach-blond cult leader Sir Jimmy Crystal in 28 Years Later: The Bone Temple.
And he’s having the time of his life doing it.
From Bloodsucker to Cult Leader
O’Connell’s trajectory this year reads like a masterclass in range. His charming vampire Remmick in Sinners helped prove that audiences still crave theatrical experiences.
It sort of fills me with the promise about cinema-going. I think we’re in quite a frightened era, especially people involved in film [who] are really desperate to know what the future is going to hold.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Jack O’Connell stands in a luxury London hotel suite, staring out at gray January skies, and declares his love for winter.
It’s an unexpected statement that perfectly captures the 35-year-old British actor’s contrarian energy—the same unpredictable quality that makes his villainous roles so magnetic.
Fresh off the massive success of Sinners, which raked in $368 million and earned Ryan Coogler’s team a Golden Globe, O’Connell is now terrifying audiences as bleach-blond cult leader Sir Jimmy Crystal in 28 Years Later: The Bone Temple.
And he’s having the time of his life doing it.
From Bloodsucker to Cult Leader
O’Connell’s trajectory this year reads like a masterclass in range. His charming vampire Remmick in Sinners helped prove that audiences still crave theatrical experiences.
It sort of fills me with the promise about cinema-going. I think we’re in quite a frightened era, especially people involved in film [who] are really desperate to know what the future is going to hold.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Jack O’Connell stands in a luxury London hotel suite, staring out at gray January skies, and declares his love for winter.
It’s an unexpected statement that perfectly captures the 35-year-old British actor’s contrarian energy—the same unpredictable quality that makes his villainous roles so magnetic.
Fresh off the massive success of Sinners, which raked in $368 million and earned Ryan Coogler’s team a Golden Globe, O’Connell is now terrifying audiences as bleach-blond cult leader Sir Jimmy Crystal in 28 Years Later: The Bone Temple.
And he’s having the time of his life doing it.
From Bloodsucker to Cult Leader
O’Connell’s trajectory this year reads like a masterclass in range. His charming vampire Remmick in Sinners helped prove that audiences still crave theatrical experiences.
It sort of fills me with the promise about cinema-going. I think we’re in quite a frightened era, especially people involved in film [who] are really desperate to know what the future is going to hold.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.
Jack O’Connell stands in a luxury London hotel suite, staring out at gray January skies, and declares his love for winter.
It’s an unexpected statement that perfectly captures the 35-year-old British actor’s contrarian energy—the same unpredictable quality that makes his villainous roles so magnetic.
Fresh off the massive success of Sinners, which raked in $368 million and earned Ryan Coogler’s team a Golden Globe, O’Connell is now terrifying audiences as bleach-blond cult leader Sir Jimmy Crystal in 28 Years Later: The Bone Temple.
And he’s having the time of his life doing it.
From Bloodsucker to Cult Leader
O’Connell’s trajectory this year reads like a masterclass in range. His charming vampire Remmick in Sinners helped prove that audiences still crave theatrical experiences.
It sort of fills me with the promise about cinema-going. I think we’re in quite a frightened era, especially people involved in film [who] are really desperate to know what the future is going to hold.
That commercial triumph makes his pivot to Sir Jimmy Crystal—possibly his most depraved character yet—even more remarkable. In Nia DaCosta’s zombie sequel, O’Connell embodies a satanic torturer who leads wig-wearing minions called “fingers” in a post-apocalyptic Scotland.
He wanted the role badly.
Building a Monster
When O’Connell received the script, one character immediately grabbed him. After meeting with Danny Boyle and DaCosta at Boyle’s house to discuss his vision, he endured that agonizing post-audition waiting period.
His description of Sir Jimmy pulls no punches.
He is a vehicle through the uttermost darkest, depraved parts of us. He exists in this post-apocalyptic landscape and he’s therefore allowed to be completely no-holds-barred.
The character survived the outbreak that began in 2002, creating his twisted kingdom in civilization’s ruins. In young protagonist Spike, Sir Jimmy sees fresh recruitment potential—and these cult members are “having a really good fucking time,” according to O’Connell.
The Jimmy Savile Connection
Fans immediately theorized that O’Connell’s tracksuit-wearing ringleader drew inspiration from disgraced British DJ Jimmy Savile, whose sexual abuse of hundreds came to light after his 2011 death.
O’Connell confirms the connection exists.
I think he sort of models himself on the memory of this figure that was always on TV.
In the film’s universe, Savile’s crimes remained hidden when the 2002 outbreak froze time. Alex Garland’s screenplay uses this detail to explore unchecked power and how popular culture vanished overnight, leaving survivors clinging to corrupted memories.
O’Connell and DaCosta, being the same age, constantly referenced early 2000s culture. Sir Jimmy even uses outdated slang like “peeps”—a linguistic time capsule from a world that no longer exists.
Learning from Ralph Fiennes
One particular scene required DaCosta to push O’Connell toward vulnerability. She encouraged him to make Sir Jimmy less sure-footed, revealing cracks in his commanding presence.
Getting to bounce off Ralph Fiennes alone is a wonderful opportunity. But I think I remember Nia nudging me to be more vulnerable and not be sure-footed.
Working with the Conclave star became a career highlight. Fiennes taught O’Connell through relentless dedication rather than explicit instruction.
The lesson? Investigation never stops. Whether beginning or ending a shoot day, Fiennes interrogates scenes searching for fresh approaches—behavior that reassured O’Connell about sustaining curiosity regardless of career stage.
Two Directors, One Vision
Contrasting Boyle’s frantic filmmaking with DaCosta’s approach, O’Connell identifies shared traits between both directors.
What they both have in common is [they’re] unflappable. They never relent. They’re just in it with you, which is massively fucking rewarding.
DaCosta employed more static camera work compared to Boyle’s kinetic style, but O’Connell insists The Bone Temple possesses its own distinct voice. She brought fan insights while stamping her unique vision on the franchise.
Method? Not Quite
Playing Sir Jimmy didn’t require method acting extremes. O’Connell didn’t march around set declaring himself a satanist, though maintaining intensity proved necessary.
Co-star Alfie Williams remembers O’Connell differently—entering the tent between takes to serenade cast and crew with guitar. O’Connell smirks at this memory. “Night shoots can be long.”
From Skins to Sinister Roles
O’Connell’s journey began on Skins, the Bristol teen drama that launched Nicholas Hoult, Daniel Kaluuya, and Dev Patel. At 17, O’Connell played Cook—a boisterous troublemaker—alongside Kaya Scodelario and Luke Pasqualino.
It was university to us, do you know what I mean? It taught us to turn up on time and deliver.
His résumé since then demonstrates impressive variety:
- Starred Up (2013) – Prison crime drama
- Lady Chatterley’s Lover (2022) – Historical romance with Emma Corrin
- Ferrari (2023) – Michael Mann’s racing drama
- Back to Black (2024) – Amy Winehouse biopic
- SAS: Rogue Heroes – British Army officer Paddy Mayne
Does he enjoy playing bad guys? O’Connell admits it’s been fun but insists there’s no conscious pattern. He’s “rolling with the punches,” trying not to overthink his knack for sinister characters.
What’s Next: Tabloid Territory
O’Connell has already completed filming Boyle’s Ink, a biographical drama written by James Graham. He portrays Larry Lamb—the editor who transformed The Sun into a notorious tabloid alongside Rupert Murdoch, played by Guy Pearce.
It’s great writing, James Graham, like fucking phenomenal writing, and a really fascinating period of British history and our culture.
The project explores how newspapers once kept citizens informed enough to vote responsibly—a function O’Connell questions still exists. “Does that exist now?” he asks. “It’s kind of niche now, isn’t it, to have responsible, non-biased information.”
The Final Verdict
When pressed to choose between his Sinners vampire Remmick and Sir Jimmy Crystal in a fight, O’Connell takes the question seriously.
First, he needs clarification: does Jimmy have his posse?
One-on-one? Without hesitation: “Remmick.”
As O’Connell continues riding the high of Sir Jimmy’s disconcerting magnetism, he’s confident audiences will lose their minds over DaCosta’s vision. He’s enormously proud of the film, his collaboration with Fiennes, and what the entire team accomplished.
For an actor who loves winter when everyone else complains, creating characters that disturb and captivate seems perfectly on brand.