Carlyle, Robert Filmography

• California Solo (2012)
• White Sands, NM (2010)
• Under the Boardwalk: The Monopoly Story (2010)
• Robert Carlyle (2010)
• Gerard Kelly: A Celebration (2010)
• No Day at the Beach with Robert Carlyle (2010)
• Chatting with the Cast: Shooting on the Destiny (2010)
• The Meat Trade (2009)
• 24 in 24 (2009)
• Kevin Approaches (2009)
• The Unloved (2009)
• Zig Zag Love (2009)
• The Tournament (2009)
• Kings X (2008)
• Summer (2008)
• Stone of Destiny (2008)
• 24 (2008)
• Once, pequeño gran éxito (2008)
• I Know You Know (2008)
• Code Red: The Making of '28 Weeks Later' (2007)
• Code Red: The Making of '28 Weeks Later' (2007)
• 28 Weeks Later: The Rage Is Back (2007)
• 28 Weeks Later: Getting Into the Action (2007)
• Flood (2007)
• 28 Weeks Later: The Infected (2007)
• 28 Weeks Later: Getting Into the Action (2007)
• Happy Birthday BAFTA (2007)
• 28 Weeks Later (2007)
• The WIN Awards 2006 (2006)
• Eragon (2006)
• Being Sergei Karpovich (2006)
• Farmers on E (2006)
• Born Equal (2006)
• The Mighty Celt (2005)
• Human Trafficking (2005)
• La Marató 2005 (2005)
• Marilyn Hotchkiss' Ballroom Dancing & Charm School (2005)
• Benny Lynch (2005)
• Light in the Sky (2005)
• Class of '76 (2005)
• Dead Fish (2005)
• Gunpowder, Treason & Plot (2004)
• Hitler: The Rise of Evil (2003)
• Die Another Day: From Script to Screen (2002)
• Judi Dench: A BAFTA Tribute (2002)
• Die Another Day: From Script to Screen (2002)
• James Bond: A BAFTA Tribute (2002)
• Black and White (2002)
• Once Upon a Time in the Midlands (2002)
• Who the Hell Is Stel Pavlou? (2001)
• The 51st State (2001)
• To End All Wars (2001)
• The Orange British Academy Film Awards (2000)
• There's Only One Jimmy Grimble (2000)
• James Bond Down River (2000)
• The Beach (2000)
• The Bond Cocktail (1999)
• Plunkett & Macleane (1999)
• Ravenous (1999)
• Ravenous (1999)
• Film-Fest DVD: Issue 1 - Sundance (1999)
• The James Bond Story (1999)
• The Making of 'The World Is Not Enough' (1999)
• The World Is Not Enough (1999)
• Angela's Ashes (1999)
• And the Word Was Bond (1999)
• The 50th British Academy Film Awards (1998)
• The 70th Annual Academy Awards (1998)
• Looking After Jo Jo (1998)
• The Full Monty (1997)
• Venice Report (1997)
• Face (1997)
• Trainspotting (1996)
• Carla's Song (1996)
• Go Now (1995)
• Marooned (1994)
• Being Human (1994)
• Priest (1994)
• 99-1 (1994)
• Advocates II (1992)
• Tender Blue Eyes (1992)
• Riff-Raff (1991)
• Silent Scream (1990)

Carlyle, Robert Filmography

• The Rats of Tobruk (1944)

Carlyle, Robert Filmography

• Long Weekend (2008)

Famous quotes by Robert Carlyle:

"I'm in four different films this year, and I have four different accents. I sound different in every film. You have to love a character to play it well, and change in my work is what I want."

"A lot of the characters I play come from the working-class. It's a background I'm familiar with. It's not about being hard. It's just knowing how that society works and what the rules are.I grew up in a working-class area of Glasgow and that experience has stood me in good stead."

"I'll spare you the actors' pretentious rubbish, but a face reflects experience, so if you concentrate on a character something happens to you physically. Many actors look at the costume before the part, and that seems crazy to me. It's much more fun to be ugly. Not that I think I'm ugly, but I've never considered myself good-looking."

"Acting is probably the greatest therapy in the world. You can get a lot stuff out of you on the set so you don't have to take it home with you at night. It's the stuff between the lines, the empty space between those lines which is interesting."

"I feel with TV you're allowed more freedom. With television there's more time to create something through the episodes. The fact that you're working harder on the surface seems more difficult, but you get into a way of working where if you're not allowed to stop and breathe and think about it, you just go on instinctively, which is the way I prefer anyway. It becomes a more spontaneous thing."

"I must have been dreaming about Albie. I spoke in a Liverpool accent all the time. It becomes second nature. It's much easier like that. It seems to me common sense rather than extraordinary."

"To be honest I've worked with a few American actors now and I was looking forward to that you know, coming up in my career thinking "Yeah I'd like to work with some Americans because they seem to be very, very comfortable with improvisation. But that has not been my experience at all. They have to have things absolutely set."

"The way a person moves tells you a lot about them. Look at the way I'm holding this coffee mug. If I were to thump it down on the table, I wouldn't be respecting your tape recorder. If I move it gently, it means I am showing some respect. These are the things I bring to my performances."

"We met in Cracker. I played a maniac fan who murders a policeman and she did my makeup. I thought anyone interested in me looking like that must have genuinely liked me."

"I want to keep audiences off balance, so they don't know who I am or how to take me. If I duck and weave, as Frank Bruno might say, I'll have a longer shelf life."

"I'm in four different films this year, and I have four different accents. I sound different in every film. You have to love a character to play it well, and change in my work is what I want."

"A lot of the characters I play come from the working-class. It's a background I'm familiar with. It's not about being hard. It's just knowing how that society works and what the rules are.I grew up in a working-class area of Glasgow and that experience has stood me in good stead."

"I'll spare you the actors' pretentious rubbish, but a face reflects experience, so if you concentrate on a character something happens to you physically. Many actors look at the costume before the part, and that seems crazy to me. It's much more fun to be ugly. Not that I think I'm ugly, but I've never considered myself good-looking."

"Acting is probably the greatest therapy in the world. You can get a lot stuff out of you on the set so you don't have to take it home with you at night. It's the stuff between the lines, the empty space between those lines which is interesting."

"I feel with TV you're allowed more freedom. With television there's more time to create something through the episodes. The fact that you're working harder on the surface seems more difficult, but you get into a way of working where if you're not allowed to stop and breathe and think about it, you just go on instinctively, which is the way I prefer anyway. It becomes a more spontaneous thing."

"I must have been dreaming about Albie. I spoke in a Liverpool accent all the time. It becomes second nature. It's much easier like that. It seems to me common sense rather than extraordinary."

"To be honest I've worked with a few American actors now and I was looking forward to that you know, coming up in my career thinking "Yeah I'd like to work with some Americans because they seem to be very, very comfortable with improvisation. But that has not been my experience at all. They have to have things absolutely set."

"The way a person moves tells you a lot about them. Look at the way I'm holding this coffee mug. If I were to thump it down on the table, I wouldn't be respecting your tape recorder. If I move it gently, it means I am showing some respect. These are the things I bring to my performances."

"We met in Cracker. I played a maniac fan who murders a policeman and she did my makeup. I thought anyone interested in me looking like that must have genuinely liked me."

"I want to keep audiences off balance, so they don't know who I am or how to take me. If I duck and weave, as Frank Bruno might say, I'll have a longer shelf life."