Career
Scott dropped out of his Drama degree at Trinity College, Dublin to join Dublin’s famous Abbey Theatre. He made his film debut aged seventeen as the young lead in acclaimed Irish film Korea.
After filming a small part in Steven Spielberg’s Saving Private Ryan, he worked with film and theatre director Karel Reisz in a Gate Theatre production of Long Day’s Journey Into Night for which he won Actor of the Year at the Independent/Spirit of Life Awards and received an Irish Times Award nomination for Best Supporting Actor.
Scott appeared in the film Nora, with Ewan McGregor, and in a television adaptation of Henry James’s The American, alongside Diana Rigg and Matthew Modine, before making his London theatre debut in Conor McPherson’s Dublin Carol with Brian Cox at the Royal Court Theatre. He was then cast in major roles in the BAFTA winning drama Longitude, opposite Michael Gambon, and the multi-award winning HBO miniseries Band of Brothers.
In 2004 he was named one of European Film Promotions' Shooting Stars. After starring in My Life in Film for the BBC, he received his first Olivier award for his role in A Girl in a Car with a Man at The Royal Court, and the Theatregoers' Choice Award for his performance in the National Theatre’s Aristocrats. He then created the roles of the twin brothers in the original Royal Court production of Christopher Shinn’s Dying City, which was later nominated for the Pulitzer Prize. In 2006, he made his Broadway debut opposite Julianne Moore and Bill Nighy in the Music Box Theater production of The Vertical Hour written by David Hare and directed by Sam Mendes, for which he was nominated for a Drama League Award.
In 2008, Scott appeared in the award-winning HBO miniseries John Adams, opposite Laura Linney and Paul Giamatti. In 2009, he appeared in Sea Wall, a one-man show written especially for him by Olivier award-winning playwright Simon Stephens.
He starred alongside Ben Whishaw, Katherine Parkinson and Paul Jesson in a sell-out run of Cock at the Royal Court in late 2009, a production which won an Olivier Award in 2010. He has recently been seen in Foyle's War as a prisoner determined to allow himself to hang for a crime he may not have committed, which was described in Slant Magazine as a "standout performance." Other recent appearances include a role in Chasing Cotards (a short film that made specifically for IMAX presentation by Director Edward L Dark), as well as a portrayal of Paul McCartney in BBC film Lennon Naked. He also starred in the critically acclaimed 2010 film Anton Chekhov's The Duel.
His most recent credits include an appearance as Sherlock Holmes' nemesis Moriarty in the BBC drama Sherlock, and a guest role in the second series of Garrow's Law. In 2010 he appeared with Lisa Dillon and Tom Burke in the Old Vic production of Noël Coward's Design for Living.
In 2011 he played the main role of Julian in Ben Power's adaptation of Henrik Ibsen's epic Emperor and Galilean at the National Theatre in London.
He also had a small part in BBC2's original drama The Hour as Adam Le Ray, a failed actor. He appeared in two episodes; 1 and 3.
He won a BAFTA in 2012 for Best Supporting Actor for his role as Moriarty in Sherlock.
In addition to his stage and TV work, Scott is also known for his voice acting in radio plays and audio books, such as the roles of Jay Gatsby in Fitzgerald's The Great Gatsby and Stephen Dedalus in James Joyce's Ulysses.
Read more about this topic: Andrew Scott (actor)
Famous quotes containing the word career:
“Like the old soldier of the ballad, I now close my military career and just fade away, an old soldier who tried to do his duty as God gave him the light to see that duty. Goodbye.”
—Douglas MacArthur (1880–1964)
“In time your relatives will come to accept the idea that a career is as important to you as your family. Of course, in time the polar ice cap will melt.”
—Barbara Dale (b. 1940)
“What exacerbates the strain in the working class is the absence of money to pay for services they need, economic insecurity, poor daycare, and lack of dignity and boredom in each partner’s job. What exacerbates it in upper-middle class is the instability of paid help and the enormous demands of the career system in which both partners become willing believers. But the tug between traditional and egalitarian models of marriage runs from top to bottom of the class ladder.”
—Arlie Hochschild (20th century)