Unpredictable and famously reserved about his private life to the point of being secluded, actor Daniel Day-Lewis proved time and again his considerable onscreen talents in roles befitting the highly...
London, England, GB
|The Age of Innocence||1993||Actor||Newland Archer||19937|
|Eversmile, New Jersey||1988||Actor||Fergus O'Connell||19887|
|The Ballad of Jack and Rose||2005||Actor||Jack Slavin||20057|
|My Left Foot||1989||Actor||Christy Brown||19897|
|In the Name of the Father||1993||Actor||Gerald Conlon||19937|
|The Unbearable Lightness of Being||1988||Actor||Tomas||19887|
|There Will Be Blood||2007||Actor||Daniel Plainview||20077|
|The Crucible||1996||Actor||John Proctor||19967|
|The Boxer||1997||Actor||Danny Flynn||19977|
|The Last of the Mohicans||1992||Actor||Nathaniel Poe/Hawkeye||19927|
|Stars & Bars||1988||Actor||Henderson Dores||19887|
|My Beautiful Laundrette||1986||Actor||Johnny||19867|
|Red, Hot & Blue||1990 1989 - 1990||Actor||Host||19907|
|The Insurance Man||1984||Actor||Mr Kafka||19847|
|The History of Hamlet||1994 1993 - 1994||Actor||Hamlet||19947|
|The 13th Annual Critics' Choice Awards||2007 2006 - 2007||Actor||Winner||20077|
|Gangs of New York||2002||Actor||William Cutting/"Bill The Butcher"||20027|
|A Room With A View||1986||Actor||Cecil Vyse||19867|
|The 9th Annual Screen Actors Guild Awards||2002 2001 - 2002||Actor||Presenter||20027|
|The 63rd Annual Academy Awards||1990 1989 - 1990||Actor||Presenter||19907|
|The 47th Annual Golden Globe Awards||1989 1988 - 1989||Actor||n/a||19897|
|1993: A Year at the Movies||1993 1992 - 1993||Actor||n/a||19937|
|Spike Guys Choice 2013||2012 2011 - 2012||Actor||n/a||20127|
|Golden Globe Winner Special||2007 2006 - 2007||Actor||Winner||20077|
|Hope for Haiti Now: A Global Benefit for Earthquake Relief||2009 2008 - 2009||Actor||Participant||20097|
|The Ballad of Jack and Rose||2005||Music Producer||Original Score Producer||1|
|Nine||2009||Song Performer||("Guido's Song")||1|
|Nine||2009||Song Performer||("I Can't Make This Movie")||1|
|Starred in Michael Mann's "The Last of the Mohicans"|
|Played film director Guido Contini in Rob Marshall's musical adaptation of Broadway musical "Nine," which was inspired by Federico Fellini's autobiographical film "8½"; earned a Golden Globe nomination for Best Actor|
|Co-starred in Martin Scorsese's "The Age of Innocence"; first screen pairing with Winona Ryder|
|Nominated for the 2009 Golden Globe Award for Best Performance by an Actor in a Motion Picture - Musical or Comedy ("Nine")|
|Returned acting to star in Scorsese's "Gangs of New York"; earned Oscar and Golden Globe nominations for his performance|
|Breakthrough screen roles, as a gay punk in "My Beautiful Laundrette" and an Edwardian dandy in "A Room With a View"|
|Confirmed leading man status as the playboy Tomas in "The Unbearable Lightness of Being"|
|Starred opposite Winona Ryder in "The Crucible"|
|Portrayed the 16th U.S. president in Steven Spielberg's "Lincoln"|
|Third film with Jim Sheridan, "The Boxer"|
|Starred opposite Catherine Keener in "The Ballad of Jack and Rose"; directed and written by wife Rebecca Miller|
|Landed first stage role in a Sevenoaks production of "Cry, the Beloved Country"|
|Acted with the Bristol Old Vic and Royal Shakespeare Company|
|Took a leave of absence from acting by putting himself into "semi-retirement"|
|Played "Hamlet" at the National Theatre in London; withdrew from the play in mid-performance with only seven more shows to go; London papers cited 'nervous exhaustion'|
|First lead role for British TV, "How Many Miles to Babylon?"|
|Made creen debut at age 13 in "Sunday, Bloody Sunday"|
|Gave award-winning performance as a Texas oilman in Paul Thomas Anderson's "There Will Be Blood," a loose adaptation of Upton Sinclair's 1927 novel Oil!|
|First adult role (bit part) in "Gandhi"|
|Reteamed with Jim Sheridan for the IRA drama "In the Name of the Father"; nominated for a Best Actor Academy Award|
|Earned accolades, including a Best Actor Oscar, for his performance as quadriplegic Christy Brown in "My Left Foot"; also first film with director-writer Jim Sheridan|
|American film debut, starring role in the little-seen "Stars and Bars"|
|Starred for nine months in the West End production of "Another Country"|
Born on April 29, 1957 in London, England, Day-Lewis was raised in a middle-class literary home; his father, Cecil, was a writer and English Poet Laureate from 1968 until his death in 1972, and his mother, Jill Balcon, was an actress. Surprisingly, his parents sent him to public school in South London, rather than have their son educated at a posh academy. But Day-Lewis proved to be a rambunctious student, leading his parents to transfer him to Sevenoaks, a private school in Kent. His new surroundings made him miserable; he even went on a shoplifting spree in hopes of getting expelled, but to no avail. Instead, Day-Lewis begged his parents to let him join his sister, Tamasin, at Bedales, a progressive public school in neighboring Petersfield. Part of his dilemma with fitting in at private school came from his identifying with the working class, despite an educated middle class upbringing. He was intrigued by other kids whose fathers worked the shipping yards or ran shops. Despite his troubles, it was at this time that Day-Lewis was introduced to his two most prominent interests: carpentry and acting.
Though he made his film debut with a tiny role in "Sunday, Bloody Sunday" (1971), an emotionally complex drama about an unorthodox love triangle, it would be a number of years before he graced the big screen with regularity. Meanwhile, prior to his death in 1972, his father had the happy opportunity to see his son play Florizel in a production of Shakespeare's "A Winter's Tale." He soon died, leaving behind a lifetime of regret in Day-Lewis for not having had a close relationship with his father. In 1973, Day-Lewis joined the National Youth Theatre, but found the experience to be degrading and soon left. Meanwhile, his desire to be a craftsman led to applying for an apprenticeship with well-known cabinetmaker John Makepeace. At the same time, however, Day-Lewis applied to the Bristol Old Vic and was accepted. Though he chose to enter acting, he never lost his interest in craftsmanship, even if only translating the principles into building characters. Meanwhile at the Old Vic, he delivered noted performances in Nigel Williams' "Class Enemy," among others.
Day-Lewis started his film career in earnest with a small part as a street bully in Richard Attenborough's historical epic "Gandhi" (1982). After a supporting role opposite the likes of Mel Gibson, Anthony Hopkins and Sir Laurence Olivier in "The Bounty" (1984), Day-Lewis made his first distinct impression in "My Beautiful Laundrette" (1985), playing a swaggering punk who helps his Pakistani friend (Gordon Warnecke) run a laundromat transformed from a hole-in-the-wall to a sparkling gem, thanks to a shipment of cocaine. Day-Lewis received kudos galore for his brash portrayal of the fascist delinquent Johnny and quickly popped up on all the critics' radar. Soon enough, he followed with another noteworthy performance in "A Room With a View" (1986), playing the foppish and insufferable fiancé of a young British woman (Helena Bonham Carter) struggling between doing what is proper and following her passion. Day-Lewis earned a Best Supporting Actor award from the New York Film Critics Circle.
While building an impressive résumé onscreen, Day-Lewis continued acting on stage, performing in productions of Christopher Bond's "Dracula," Julian Mitchell's "Another Country," as well as turns in "Romeo and Juliet" and "A Midsummer Night's Dream" for the Royal Shakespeare Company. Returning to film, he then tried his hand at screwball comedy with "Stars and Bars" (1988), a miserable box office dud that showcased Day-Lewis as a proper English art dealer who goes to rural Georgia to purchase a Renoir from a country bumpkin (Harry Dean Stanton), only to run into competition after the son (Maury Chaykin) makes a deal with a rival dealer. He returned to form, however, with a strong performance as a philandering Czech doctor visiting the West who struggles with the decision whether or not to return to his wife behind the Iron Curtain in "The Unbearable Lightness of Being" (1988), Philip Kaufman's meditative look at love and existence through sensuality. Day-Lewis' scenes with co-stars Lena Olin and Juliette Binoche made him a sex symbol virtually over night.
Perhaps Day-Lewis' greatest artistic achievement arrived in the form of "My Left Foot" (1989), his first collaboration with director Jim Sheridan, in which he played famed Irish writer and painter Christy Brown, who was born with cerebral palsy and reached his full potential with the undying resolve of his unassailable mother (Brenda Fricker). Only able to control his left foot, Brown suffered through years of neglect from his family, who thought him helpless and mentally deficient. But with the help of his mother's undying loyalty - and a piece of chalk - Brown was able to overcome his handicaps to become a respected novelist, poet and painter. To prepare for the physical challenge of playing Brown, Day-Lewis spent eight weeks at a cerebral palsy clinic, and on work days, spent the entire time in a wheelchair in order to experience the frustrations and humiliations of being washed and fed. The intense mental and physical preparation reaped handsome reward. Day-Lewis was widely praised on his way to winning an Oscar for Best Actor at the Academy Awards.
Because of deeply immersing himself into characters - a practice that became his modus operandi throughout the years - Day-Lewis took more time off between projects, presumably to recover from the physically and emotionally draining experiences. So four years after "My Left Foot," Day-Lewis emerged from his self-imposed seclusion to star in Michael Mann's historical epic "The Last of the Mohicans" (1993), a lush, romantic adaptation of James Fenimore Cooper's novel. Day-Lewis played Hawkeye, a European-born frontiersman and adopted son of the Mohican Chingachgook who, along with his tribe, joins forces with the British to fight the French and their Huron allies during the French and Indian War. Meanwhile, Hawkeye saves Cora Munro (Madeline Stowe) and her sister from a Huron war party, sparking a sizzling romance that only amplified the historical imperative of defeating the French. Once again, Day-Lewis went to extreme lengths to prepare for the role; he learned to track and skin animals, build canoes, throw tomahawks and fire a flintlock rifle which he kept by his side at all times, even at Christmas dinner. Meanwhile, the onscreen chemistry and sexual tension between the two leads was palpable and long remembered by swooning fans years after its release - particularly his passionate promise to save Cora ("You stay alive, no matter what occurs! I will find you!"), intensifying Day-Lewis' status as an iconic sex symbol.
Day-Lewis followed up "Mohicans" with his second and most celebrated collaboration with director Jim Sheridan, "In the Name of the Father" (1993), the gripping saga of Gerry Conlon, a purported member of the infamous Giuldford Four, a group of three Irishmen and an English woman wrongly accused of a 1974 IRA bombing in Guildford, England. After the bombing, Conlon is brutally interrogated and forced to sign a confession despite his professed innocence. He's thrown into prison alongside his aging father (a brilliant Pete Postelthwaite), where Conlon is forced to endure the torments of injustice while trying to rectify his relationship with his dad. Day-Lewis once again embarked upon a typically intense regimen to prepare for the role; he went on a prison diet in order to achieve Conlon's emaciated look, and to reach the prisoner's emotional state, he spent 48 hours in a prison cell eating slop and having buckets of ice water thrown on him. The result was a deeply powerful and touching performance that earned Day-Lewis critical praise and several award nominations, including his second nod for Best Actor at the Academy Awards.
There was no need to endure gruel or shiver in a 7-by-10 foot cell for his next film, "Age of Innocence" (1993), Martin Scorsese's lush and operatic adaptation of Judith Wharton's biting satiric novel about uptown society in late 19th century Manhattan. Day-Lewis played Newland Archer, a staid and aristocratic lawyer who finds his passions ignited by his fiancée's (Winona Ryder) beautiful cousin, Countess Ellen Olenska (Michelle Pfeiffer), an expatriate who has abandoned her own marriage. Day-Lewis reunited with Ryder for a well-crafted adaptation of Arthur Miller's "The Crucible" (1996), playing John Proctor, a Salem farmer in 1692, who is afraid of spoiling his good name after his former servant and lover accuses his wife (Joan Allen) of witchcraft. The actor delivered yet another strong performance steeped in nuance and emotional turmoil. In "The Boxer" (1997), his third collaboration with Jim Sheridan, he played a once-promising Irish boxer who returns to Belfast after serving 14 years in prison for IRA activities. With his hometown mired in violence and hate, he tries to revive his boxing career while rekindling a romance with his former girlfriend (Emily Watson). For his performance, Day-Lewis was nominated for Best Actor - Drama at the Golden Globes that year.
At a time when his career was running on all cylinders, Day-Lewis felt it was time to step back and semi-retire for a few years. He retreated to Italy, where rumors abounded that he turned to shoe-making for his vocation - something Day-Lewis greeted with muted derision when he finally did return to the spotlight after Martin Scorsese cast him in "Gangs of New York" (2002), an epic look at gang violence between Irish immigrants and "natives" of New York in the mid-19th century. At the center of the bloody battle was Bill the Butcher (Day-Lewis), the fierce leader of the natives who kill the leader of the Irish, Priest Vallon (Liam Neeson), sparking his son (Leonardo DiCaprio) to seek vengeance years later by working his way into the leader's inner circle. Day-Lewis delivered one of his finest performances to date, earning critical kudos from all corners for his dynamic portrayal of a ruthless, but charismatic killer - all but stealing the film from everyone else on the screen. He also racked up a slew of award nominations, including nods for Best Actor at the Golden Globes and Academy Awards.
In "The Ballad of Jack and Rose" (2004), Day-Lewis was a dying man living out his days on the last remnants of a former hippie commune with his isolated daughter (Camilla Belle). But when the father invites his on-again, off-again girlfriend (Catherine Keener) and her two sons to live with them, the once-close relationship with his daughter suddenly deteriorates. Written and directed by Rebecca Miller, the daughter of famed playwright Arthur Miller, "The Ballad of Jack and Rose" came and went without much fanfare. Meanwhile, Day-Lewis returned to critical acclaim with "There Will Be Blood" (2007), playing a former down-and-out silver miner who becomes a self-made oil tycoon during California's petroleum boom at the beginning of the 20th century. Standing in his way of becoming rich beyond his wildest dreams is a young preacher (Paul Dano), who runs an Evangelical church on ground under which lies an ocean of black gold. Day-Lewis' both heart-warming and vicious portrayal of the oilman earned him a win for Best Actor in a Motion Picture Drama at the 2008 Golden Globes. He followed his victory with a second Academy Award win for Best Performance by an Actor in a Leading Role.
Day-Lewis surprised many with his next major role in "Nine" (2009), Rob Marshall's musical loosely based on Fellini's "8 ½" (1963) that focused on a struggling film director (Day-Lewis) who tries to make a movie while dealing with all the demanding women in his life: his wife (Marion Cotillard), his mistress (Cruz), his star (Nicole Kidman) and even his diseased mother (Sophia Loren). For his work in the film, he received a Golden Globe nomination in a category heretofore foreign to him: Best Performance by an Actor in a Motion Picture - Musical or Comedy. As had been typical for the actor throughout his career, Day-Lewis stepped away from the limelight and seemingly disappeared. But in 2010, his name resurfaced when news hit that he was cast by Steven Spielberg to play President Abraham Lincoln in the director's epic biopic "Lincoln" (2012), which focused on the conflict between Lincoln and his cabinet members during the last few months of his presidency, which saw both the end of slavery and the conclusion of the Civil War. The role was originally given to Liam Neeson in 2005, but the actor backed out in 2010, feeling that he was too old for the part and opening the door for Day-Lewis, whose performance earned Oscar buzz even before the film's release in November 2012. He would go on to receive a Best Actor Golden Globe and Academy Award for his portrayal of the president.
|Isabelle Adjani||Companion||Met c. 1989; Carried on intermittent relationship for about five years until c. 1994; split when Adjani became pregnant with their son Gabriel|
|Michael Balcon||Grandfather||Born May 19, 1896; Jewish and Baltic; key figure in the history of British cinema; founded Gainsborough Pictures and Bryanston Films; at various times headed Gaumont-British, MGM-British, Ealing and British Lion Pictures; Died 1977 at age 81|
|Jill Balcon||Mother||Born Jan. 3, 1925|
|Juliette Binoche||Companion||Had brief affair during filming of "The Unbearable Lightness of Being" (1988)|
|Saffron Burrows||Companion||Involved during the filming of "In the Name of the Father" (1993); No longer together|
|Cecil Day-Lewis||Father||English Poet Laureate from 1968 until his death 1972|
|Cashel Day-Lewis||Son||Born May 2002; mother, Rebecca Miller|
|Gabriel Day-Lewis||Son||Born April 9, 1995; mother, Isabelle Adjani|
|Tamsin Day-Lewis||Sister||Born Sept. 17, 1953|
|Ronan Day-Lewis||Son||Born June 14, 1998; mother, Rebecca Miller|
|Arthur Miller||Father-In-Law||Father of Rebecca Miller; wrote award-winning plays such as "All My Sons," "Death of a Salesman" and "The Crucible"; Died Feb 10, 2005 of heart failure|
|Rebecca Miller||Wife||Married Nov. 13, 1996 in Vermont|
|Deya Pichardo||Companion||Together c. 1995-96|
|Julia Roberts||Companion||Dated c. 1994-95; No longer together|
|Bristol Arts Centre|
|Bristol Old Vic Theatre School|
|From "My Date With Daniel Day-Lewis" by Spaulding Gray in Elle (February 1988):
SG: So when you're playing a role, are you really entering into this...do you really feel it's another character outside of yourself?
DDL: You undergo a transformation in some respects. You can change your metabolism. You can change the speed of your thoughts. You change the process of your thoughts. You change, if you can, your stance, your movement and so on. I mean, there's no end to the possibilities. Human beings are very, very adaptable. But what goes on at the center is always you.
|From "My Date With Daniel Day-Lewis" by Spaulding Gray in Elle (February 1988):
DDL: It's just an illusion. I mean what you're aiming for is to create an illusion for other people. But what you also have to create is an illusion for yourself. An illusion that you cherish.
|"No matter how difficult the character, Day-Lewis bestows upon him a gift of empathy, of imaginative understanding. Intellectual analysis has something to do with it but not much. The secret is loyalty. He never wavers in his acceptance of the person he has consented to become. He imposes no theory, he offers no comment, and he never withdraws his affection."
"`I most enjoy the loss of self,' Day-Lewis says, assessing the satisfactions of his work. `That can only be achieved through detailed understanding of another life - not by limping and growing a moustache.'" - from "Risk Taker Supreme" by Matthew Gurewitsch, Connoisseur, December 1989
|"Dan has a great advantage over us all because his grandfather ran a studio for 40 years. He not only knows all about the 'star' business, he also probably knows more about this industry than any director. So, his annoyance with stories that he would star in this or that would be that he would never give his word and go back on it. The work is spiritual to Daniel." - director Jim Sheridan to Movieline, December 1993|
|"I suppose I have a highly developed capacity for self-delusion, so it's no problem for me to believe that I'm somebody else." - Day-Lewis quoted in EW, Dec. 28, 1993|
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