With writer-director Martin McDonagh’s fantastic film, The Banshees of Inisherin, now playing in theaters, I recently conducted an extended and wide-ranging interview with an actor that has really impressed me the past few years, Barry Keoghan. Even though Keoghan is a young actor, he’s already accumulated an impressive resume that includes Christopher Nolan’s Dunkirk, Yorgos Lanthimos’ The Killing of a Sacred Deer, Chloé Zhao’s Eternals, and Matt Reeves’ The Batman, where he made the most of his limited screentime as the Joker. In The Banshees of Inisherin, Keoghan delivers another captivating performance, playing opposite Colin Farrell, Brendan Gleeson, and Kerry Condon and holding his own in every scene.

The Banshees of Inisherin takes place on a small island off the west coast of Ireland in the 1920’s where everyone knows everyone. It’s also the place where two lifelong friends Padraic (Farrell) and Colm (Gleeson) meet every afternoon at the local pub to talk. But when Gleeson suddenly puts an end to their friendship without warning, Farrell, his sister (Condon), and a troubled young man (Keoghan) attempt to repair the rift. Which leads to surprising consequences for both of them.

During the interview, Keoghan talked about how he prepares for a role and an intense scene, how he’d been wanting to work with Martin McDonagh for a long time and even had his picture on his phone, the way McDonagh directs on set, and how working with The Banshees of Inisherin was like taking a masterclass in acting. In addition, he talked about playing the joker in Matt Reeves’ The Batman, and Emerald Fennell’s next movie, Saltburn.

Watch our conversation in the player above, or you can read it below. The Banshees of Inisherin is one of the best films I’ve seen this year and it’s absolutely worth seeing in a movie theater.

COLLIDER: I just wanted to start with how much I've really been enjoying your work. It's fantastic in this movie, and I just appreciate what you're doing.

BARRY KEOGHAN: Oh, thanks, man. Thank you. That means a lot.

I have a ton of questions about a variety of subjects, so here we go. If someone has actually never seen anything that you've done before, what is the first thing you want them watching and why?

KEOGHAN: You know what? This one, Banshees. I just said there in an interview that it's nice to get to play a character that has such an innocent and honest and truthful demeanor about him, rather than the sinister kind of thing that we're used to. It's actually I think harder to play that as well, to be nice and naïve and innocent.

I'm curious, of the roles you've done, which is the one that you prepared for the most, before filming began?

KEOGHAN: There's a level of prep that I do on every film, given there's moleskins involved which I write down some character questions. I used to get my granny to write character questions. I'd say, "Look, pretend you don't know this person. I want you to list a bunch of questions, and I'm going to answer them." Then I'd have an element of images and kind of drawings around that time and kind of an image board. Then I'd have a moleskin book on experience's that related to my experiences, character experiences that are similar to mine. So I could kind of draw from that. I then chuck it all out the window. But the one I've done the most for would be probably the one I just finished, which is Saltburn, which Emerald Fennell directed. But between that and Martin's and Yorgos' film, I think.

If you have a huge scene on a Monday, you know it's going to be emotional or dramatic, or you know it's really a scene that you want to deliver on, how early on are you preparing for that scene? Is it weeks out you're thinking about it, or do you hyper-focus on Saturday?

KEOGHAN: I mean, you're always thinking of these things when you get the schedule. Okay, when's that scene? Okay, cool. But I tend not to focus on it too much, because I really do like to be spontaneous. I really do like to try. And again, I may be sounding so ridiculous here, but react... You can't prep how you're going to react, and that for me is... it's just all about go in and just... If there's certain things you have to hit, like a certain mark, et cetera, well then you'll rehearse that. But in terms of how I'm going to react, I don't like to preempt. I like to be fresh and real and behave, if I can... So I tend not to focus too much on these heavy scenes, and just know what I'm doing and show up and throw it all out the window. Sometimes when I throw it all out the window, I actually forget what I'm supposed to say. I throw it that much out the window.

It's funny, because I've spoken to a lot of actors, and some will talk about how, exactly what you said, where they don't want to have any emotion before they step on set. And others, who are hyper like rehearsals, will start months out, they'll start thinking about every aspect. So it's just so interesting how there's no right way to get to where you need to be.

KEOGHAN: There isn't. Again, even with methods, and you hear of this person's a method actor and that person's a method actor, I mean, I have it writ on my phone and my book, my diary, and it's called my method. That's what I go by, is my method. What works for me. And that's the way I've always done it. I don't want to be out there trying to be like so-and-so, or like so-and-so here. They've done it. They've done it their way, and that's how they are where they are. I want to do it my way. And that, I don't even know what that is.

Sure.

KEOGHAN: You know what I mean? I don't think anyone knows what they do. And you don't want to know what you are doing. You want to kind of keep it fresh, and learn and fail. So yeah, if all that makes sense.

100 [percent]. It's how you get there. I heard you were a big fan of Martin's work, and you had a picture of him on your phone. So what did it mean to you to actually have him say, "Hey, I want you for this?"

KEOGHAN: It's insane how the law of attraction works. And I'm not one of these, like picture a car, and you'll get the car, or that commercialized version of it. I grew up with my nanny who's... I was raised quite religiously as well. And I drop a prayer here and there as well, and that's when I feel very blessed in a lot of sense. But I think that, I'm combination with the universe, I think if you put it out there, you also got to work hard for it. You don't just put it out there and expect it. You put it out there, and you work hard for it. And I think it's more about attracting the opportunities more than it is about attracting the actual thing it is you want. So when you get the opportunity, then it shows. Then you got to go work for it.

So yeah, I had Martin on my phone for like months. I was in New York. I was living in New York. I was staying with a friend, he was like, "Why have you got him on the front of your phone?" He actually thought it was Sting. I was like, "Nah, it's Martin McDonagh." I remember Martin texting me then. Well, emailing me and saying, "I'd love you to be a part of my movie." I was like, "Oh my god, Martin McDonagh's just emailed me." So I went and met him up in Midtown in New York, and up until literally he walked in I remembered I should take him off my phone. He was still on the front of him. So he would've been sitting there, and he would've seen his face pop up and would've went, "This kid is insane."

But yeah, I told him, and he laughed about it and whatever. But that is just one of the things that I tend to do. I mean, it's that kind of thing. If you want something, just go fight for it. If it's not right for you, it's not right for you. But I'm not a believer in sitting and expecting and waiting for stuff to happen for me.

I can't imagine being such a fan and then getting cast in the movie. Did you put any extra pressure on yourself for those first few days on set when Martin is first getting to know you and watching you work?

KEOGHAN: Yeah, yeah.

Like were you a little more in your head?

KEOGHAN: Yeah, you will be. I mean, that's what any director kind of... especially anyone that you admire. The first line or the first kind of thing is always like, am I going to be recast or... But when I done it, and he'd say, "Oh brilliant." And I'm like, "Oh great, okay. Passed that then." But I think that's what you keeps you going and keeps you on top of your game, is he's bringing you onto this movie to bring a certain level of something. So you've got to show up with that.

Is there a day or two that you'll always remember from being on set with Colin or Brendan or Martin? Like a special day.

KEOGHAN: There is many of them days. Always with Colin. Always. Chats we get into and stuff like that. I remember one day with Brendan. Brendan likes to play the violin. I remember there was a group of Irish dancers, I think, there. We were all waiting in the tent. Wind is going insane. We're on the coast. You couldn't be any more Irish. And Brendan starts playing the violin and one of the lads start dancing away. I'm just like, "Fecking hell, man. This is insane." But totally wrapped up in that traditional Irish kind of culture, that music. And Brendan is just... he's just fascinating. What a man as well. And just to be amongst that and watch. Apart from making this movie, we were involved in this little thing.

You've worked with a number of very talented filmmakers. I'm curious, who is the most relaxed on set, and who is the one that is always hyper-focused and guardrails on, not joking around?

KEOGHAN: God, am I going to get into trouble here?

Well, I'm not trying to get you in trouble.

KEOGHAN: Not to say that you're not super serious, that you're not a good director, so... No, but they all are. I mean, they all have their own seriousness about them and their own way of getting something across. And that is what makes some directors. Not only that they make great films, but how they communicate with their actors and that. So Yorgos is great and very to the point of, stay still and stop moving. Emerald is very... she'll come to you, and she'll go through the scene with you and the beats with you. And Martin has a great way of just humanizing the characters. That's the best way I can put that. Whatever he does, he gets that across. He makes the person real rather than playing the animated version of it or whatever.

And then Christopher Nolan is very... you're on a Christopher Nolan set, so that says it all. They all have their own ways. They all have their own ways, but have a great understanding of their actors and actresses and how they communicate with them, and very gentle, so...

What is Martin like in terms of the notes he gives you on a performance? Say you're filming a scene, you're doing something with Colin, does he give you a long note, or does he pull you aside and say a little less? What is he like in terms of the notes he wants to give you?

KEOGHAN: We had that thing as well. We were like... I'd go a bit big, and he'd be like, "Less, less." And you know when your director approaches with a smile, and it's a genuine smile, and he's not just trying to get the day going, and he's like, "All right, we have to move on." When Martin's happy, that is the best feeling in the world. It's just insane, because you know you are in safe hands with Martin McDonagh. Whatever you say in that dialogue and whatever he beats are, you know that you are in good, good hands. So when he's happy, it's just the best feeling in the world.

Colin and Brendan are phenomenal actors. As an actor, are you always looking at other people's performances that you admire for like little things that you can borrow, in terms of the way they work on set? Because it's like getting a masterclass up close.

KEOGHAN: It is. Funny you said that. When I was doing a scene, I was like, I'm with Brendan Gleeson and Colin Farrell and Kerry. These three actors, they are Ireland's... if you get me. To be in that crew and that company is just amazing. Martin as well, watching him direct them. I remember, I think it was the pub scene, where I wasn't really in it that much, but I was there, and I was watching all of them go back and forth. It was that moment of, you are witnessing a masterclass here. But in terms of borrowing, you're always just looking for... I'm always looking for, what's the kind of... what is it that we're trying to do that we can get across, that is the most... makes the audience relates so much. Is it being raw? Is it being real? Is it being vulnerable? What is it? I'm trying to figure that out. Is it the behaving part? I'm always trying to figure that out. That's the beauty of it as well, is I'm always trying to learn from the craft and what it is that we do. How can we take it another level up? So I'm always watching. I'm always watching.

I'm really looking forward to Masters of the Air, which is another thing that you've done. What can you tease people about it?

KEOGHAN: I can't really say that much about it, other than getting to work with Austin in California was amazing as well. But I can't really go into detail. I don't want to spoil anything.

What you can share about working with Matt Reeves, because I am a huge fan of his work and I loved The Batman.

KEOGHAN: Thank you. Yeah, Matt's amazing. I mean, again, it's sort of like you go into a numbness when you're there, because you forget. Again, another great director at communicating what he wants in the most delicate way, and making you understand. That's the most important thing for me, is being able to understand what my director wants. But he's just amazing. And he was so on board with me, and same with Dylan Clark and getting to do the scene with Rob and Paul Dano was just, again, masterclasses.

Were you happy that that deleted scene got released? Because that's a big scene to get cut.

KEOGHAN: Yeah, you always you want your work to get released, if it makes sense. But again, they wouldn't have released it if they didn't think it made sense. And again, I just wanted people to see my take on it, and I'm blessed as well that I got to do a portrayal of that.

What is it like playing an iconic character like that, in terms of what you're reading and what you're watching before stepping on set, because many people have done the role, and everyone has a different take on it, and there's no right or wrong, it's just your interpretation of this iconic character.

KEOGHAN: Again, yeah, it is. It's very intimidating. Heath Ledger was the best for me. So you've a lot of people to draw from and that. But again, you bring your version to it. That's what I do with any character I play, is no one has seen my version of it. And again, going back to it, I don't want to be like so-and-so, and follow that method and that method. I want to do me. I want to bring my version, because I feel that is new in a way, and unique, that when you bring your version no one has seen it. And that may make people relate to it. So it was intimidating, but I was excited for it.

I think The Batman is one of the bet films of the year. I think Matt just destroyed it. And also Giacchino's soundtrack. The way he used the Nirvana song. Pattinson's performance. The list goes on and on. I can just keep on... the cinematography. I can keep going.

KEOGHAN: Right, yeah.

What was it like for you being a part of a movie like that and watching it for the first time? Are you able to enjoy it as like an audience member?

KEOGHAN: Watching any movie you're part of is quite hard. I bet when you watch clips back, it's hard to look at yourself, right, or even listen to yourself. But yeah, it's a learning experience. You watch movies and you learn. I don't ever watch a movie and be like, "Yes, nailed it." You obviously look at the film as a whole as well, but I'm constantly learning on what I can make a bit more truthful or what I could've done. And not to be too critical upon yourself either, but just to make it a learning experience, and not dissect it too much.

I loved Promising Young Woman, and Emerald is obviously such a talent behind the camera.

KEOGHAN: Right.

What was it like working... You touched on it a little bit, that you prepared a lot for the role. What was it like working with her, and what can you tease about the movie?

KEOGHAN: She's just amazing. I really mean that. I had a lot, a lot of fun with her, and such a great person as well. Always there for me, and has been. She's an actress. She gets it. She gets it, she really does. So when you have a problem or when you... I really mean it, she's by your side. She's dragging you through it. She's like, "Let's do it. We're doing it together." So it was a really collaborative experience that I felt like we were in it together, because she totally understands. The script was just amazing and she done a great fecking job on it. I don't want to give too much away. And the cinematography as well. Linus. It just looks like a painting.

I can't wait.

KEOGHAN: It's amazing. Let me tell you.

Promising Young Woman's incredible. So obviously that's a great movie, so obviously I want to see whatever she's going to do next. Do you already know what you're doing in the coming months or the coming year, in terms of the work you're getting ready to do?

KEOGHAN: Well, I'm being quite picky. Yeah, I want to be very, very selective on what I do, and I never chase projects for certain reasons, other than is there something challenging there for me, or can I do something fresh with it, or I really like this director, et cetera. But I've got a son now, Brando, he's eight weeks old, and-

Congratulations.

KEOGHAN: Thank you. We had him on 5th of August when I was filming Saltburn. He's just amazing. And we went to the cinema last night in New York. We only got his passport. So we went to the cinema last night. His first time in the cinema. And on the wall was Brando, the name Brando. I was just like, wow. He's not going to be an actor. He's not going to be an actor. No way. But I think spend time with my son. I'm excited for that. It's a whole new experience. But in terms of what I'm going to do next, yeah.

I'll leave it there. Listen man, I really mean it, congrats on everything that's been happening.

KEOGHAN: Thank you. Always good to talk to you. You know you're a legend.

I don't know about that, but I'm going to say that I really do appreciate the amount of time today.

KEOGHAN: You're a legend, man. You're a legend. Going back to your Dunkirk days. Legend.

The Banshees of Inisherin is now playing in theaters.