Cillian Murphy Talks His Netflix Movie ‘Steve,’ Acting Without the Accent, and Life After His Oscar Win

Oscar-winning actor Cillian Murphy knows just how overworked and underappreciated teachers are, having been raised by a family of educators.

“You live that life vicariously, ” Murphy told Decider, in a recent press junket interview. “I don’t think I fully appreciated it, when I was young, how hard it was—both of them working and both of them coming home to us. Dealing with their own kids after standing up in front of 35 other kids.”

Now, Murphy—49 and a recent Oscar-winner for Oppenheimer—is stepping into those worn-down shoes himself in Steve, a new Netflix movie about a headteacher at a reform school for boys with behavioral issues. In addition to starring in the eponymous role, Murphy also produced the movie with Alan Moloney, for their new production company, Big Things Films. Directed by Tim Mielants, Steve—which began streaming on Netflix today—was written by Max Porter, who adapted a new version of his 2023 novel Shy, about a troubled student at a British reform school for boys in the ’90s. The movie version shifts the point-of-view from student to teacher (Murphy), who struggles over the course of one no good, very bad day to keep it together.

Murphy said that although having teacher parents (as well as teacher aunts, teacher uncles, and teacher grandparents) helped him empathize with his character, it was not the main reason he pursued the project. “I have a relationship with [writer] Max Porter, and we wanted to continue working together,” the actor explained.

Decider spoke to Murphy about filming Steve in chronological order, his big breakdown scene, getting to use his native accent, and more.

This movie made me emotional as the daughter of two teachers, and I know you also come from a family of teachers. I wonder, did that play into your decision to take on this story, and did it help you connect to the character? 

Well, you’ll know if you’re the same as me—you live that life vicariously. I don’t think I fully appreciated it, when I was young, how hard it was—both of them working and both of them coming home to us. Dealing with their own kids after standing up in front of 35 other kids and then just doing it day after day after day. But it wasn’t the motivating reason to make the film. I have a relationship with [writer] Max Porter, and we wanted to continue working together. The idea was to spin the axis of the storytelling, to bring it to Steve and Shy.

I was blown away by your performance in this movie, especially the scene where Steve goes to the basement, starts shouting, and finally lets the mask slip. Can you tell me about filming that scene?

That’s interesting you picked that scene. We shot the film chronologically and that had a big effect on everybody, because we were all living it as we went—accumulating that emotional information as we went along. [That scene] was in a continuous take, because it came from the scene when he’s with Jenny, and [the camera] follows him all the way down into the basement as a oner. We didn’t really know what was going to happen. Nobody really knew. I’ve said this before, but I don’t think I would have been able to do [the scene] that way, if I wasn’t working with people that I really trusted. Alan Moloney, my producer partner, we’ve worked for 25 years together. Tim [Mielants, the director], this is our third project; Max [Porter], third project. Emily [Watson], I’ve made two films with. It felt secure enough of a place to be that vulnerable. 

When you say you didn’t know it was going to happen, do you mean there wasn’t specific dialogue for that scene in the script?

No, no, no.  It was beautiful writing, because he does say that [in the script], but I just didn’t know how it was going to come out. 

Another scene that got me was Tracey Ullman telling your character that it’s not your fault. Was that an intentional Good Will Hunting reference, but this time it’s the teacher who needs to hear it? 

No, it’s not intentional, but I love that film. This is a genre of movie. We have to accept that. There’s a reason why Steve can’t ultimately reach Shy in the moment that he needs to reach him, and it’s because he can’t fix himself.  And it’s Amanda, Tracy’s character, that can see that.

American audiences like me are so used to hearing you do an American accent in your movies. What was it like to play a role with no accent? Was that a relief, or did it feel more vulnerable? 

Kind of all of the above, yeah. In the novel he would be English, but we just made him like he’d come over from Ireland. It’s just one less thing to worry about. [Laughs.] But it’s also, I guess, if you want to look into it, it’s just peeling away the layers, you know what I mean?

Did you feel less distance from the character, because you don’t go into a different voice? 

Yeah, I mean, I didn’t really change physically, didn’t change my voice. I tried to make him as exhausted and haggard as possible. When I was a young actor, that would have terrified me,  because it’s all about you put on—you have these layers and layers of character that you build up. Whereas that, we wanted to get rid of all that.  

Steve comes apart as the day goes on, and as you said, it was shot consecutively. How did that affect you emotionally and physically, to go on that journey?

It’s not great. [Laughs.] But it’s also the best way to do it, sequentially. The best way to do it is to go into it, and immerse yourself in it. That’s the way I do it, anyway. I have to live it. 

A belated congratulations on your well-deserved Oscar for Oppenheimer. Has your professional life changed since becoming an Oscar winner? Do you feel like you have more power?

Professionally, I don’t know. I think your tastes and your choices are pretty refined, because I’ve been doing it for 30 years, nearly. So that’s not going to change. But if it helps get a film over the line financially, in terms of funding, then I’ll take it.