- Born
- Birth nameJames Broadbent
- Height6′ 2″ (1.88 m)
- One of England's most versatile character actors, Jim Broadbent was born on May 24, 1949, in Lincolnshire, the youngest son of furniture maker Roy Laverick Broadbent and sculptress Doreen "Dee" (Findlay) Broadbent. Jim attended a Quaker boarding school in Reading before successfully applying for a place at an art school. His heart was in acting, though, and he would later transfer to the London Academy of Music and Dramatic Art (LAMDA). Following his 1972 graduation, he began his professional career on the stage, performing with the Royal National Theatre, the Royal Shakespeare Company, and as part of the National Theatre of Brent, a two-man troupe which he co-founded. In addition to his theatrical work, Broadbent did steady work on television, working for such directors as Mike Newell and Stephen Frears. Broadbent made his film debut in 1978 with a small part in Jerzy Skolimowski's The Shout (1978). He went on to work with Frears again in The Hit (1984) and with Terry Gilliam in Time Bandits (1981) and Brazil (1985), but it was through his collaboration with Mike Leigh that Broadbent first became known to an international film audience. In 1990 he starred in Leigh's Life Is Sweet (1990), a domestic comedy that cast him as a good-natured cook who dreams of running his own business. Broadbent gained further visibility the following year with substantial roles in Neil Jordan's The Crying Game (1992) and Mike Newell's Enchanted April (1991), and he could subsequently be seen in such diverse fare as Woody Allen's Bullets Over Broadway (1994), Widows' Peak (1994), Richard Loncraine's highly acclaimed adaptation of Shakespeare's Richard III (1995) and Little Voice (1998), the last of which cast him as a seedy nightclub owner. Appearing primarily as a character actor in these films, Broadbent took center stage for Leigh's Topsy-Turvy (1999), imbuing the mercurial W.S. Gilbert with emotional complexity and comic poignancy. Jim's breakthrough year was 2001, as he starred in three critically and commercially successful films. Many would consider him the definitive supporting actor of that year. First he starred as Bridget's dad (Colin Jones) in Bridget Jones's Diary (2001), which propelled Renée Zellweger to an Oscar nomination for Best Actress. Next came the multiple Oscar-nominated film (including Best Picture) Moulin Rouge! (2001), for which he won a Best Supporting Actor BAFTA award for his scene-stealing performance as Harold Zidler. Lastly, came the small biopic Iris (2001), for which he won the Oscar for Best Supporting Actor as devoted husband John Bayley to Judi Dench's Iris Murdoch, the British novelist who suffered from Alzheimer's disease. The film hit home with Jim, since his own mother had passed away from Alzheimer's in 1995.- IMDb Mini Biography By: TrendEkiD@aol.com
- SpouseAnastasia Lewis(1987 - present)
- ParentsRoy BroadbentDoreen Broadbent
- Shortly after winning his Best Supporting Actor Oscar for his role in Iris (2001), he was interviewed by Joan Rivers, who apparently didn't even know what nationality he was. On live TV, Rivers said, "Here we have Jim Broadbent, all the way from Australia. You're Australian aren't you?" But there were to be no tantrums from the star - the mild-mannered actor replied, "No, I'm British."
- He is the son of Roy Broadbent, who was involved in converting a Methodist Church into a theater. It was later renamed the Broadbent Theater after his death in 1971.
- He declined the O.B.E. (Officer of the Order of the British Empire) for his services to drama in 2002.
- Has played the husband of Iris Murdoch and Margaret Thatcher. Two notable figures who - as portrayed in each film - eventually succumbed to Alzheimer's disease.
- It took him two-and-a-half hours every day to be fitted into his fat suit for Moulin Rouge! (2001).
- I love French films, and European films. They're not any bigger, but there's just a sort of definition, and a confidence, and strength to them. I'd always, given the option, go and see a French drama. Obviously, we probably get the better ones. But they're just sophisticated on many levels, and grown up, and quite profound - and we don't make films like that.
- I always think you should be totally frivolous as much as you can, and then take the work seriously when it has to be taken seriously. As long as you can keep that balance going, it's good fun. If it's only frivolous it's not fun - it would drive me potty. On Iris, I'd never worked with Judi Dench before, but it was wonderful to realize that we worked in exactly the same way. Foolish for most of the time, then focusing on the work, clicking into it very quickly and naturally. There were a lot of laughs. Otherwise it could have been torture. Two months of being grueled.
- [on declining an OBE in 2002] I didn't think I deserved it, really. And also my father died when I was 22 and he was quite an anarchic spirit, and he would have been proud of me to have turned it down. You know how it is, the usual line: 'Oh, I accepted it for my parents.' Whereas I turned it down for my parents.
- I was offered an OBE a couple of years ago, but I said, 'no', and turned it down. I'm not that comfortable with actors receiving honours, partly because I think they ought to go to those who really help others. Besides, I like the idea of actors not being part of the Establishment. We're vagabonds and rogues, and we're not a part of the authorities and Establishment, really. If you mix the two together, things get blurry.
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