Cillian Murphy Discusses His Role in Netflix's "Steve" and Career Trajectory

Following his Oscar-winning performance in "Oppenheimer," Cillian Murphy appears even more emotionally drained in his latest Netflix project "Steve," premiering October 3rd. The transformation, which Murphy attributes to excellent makeup artistry, represents a stark departure from his portrayal of the famous physicist.

"Steve" marks a significant milestone for Murphy as it's co-produced through his new production company, Big Things Film. The drama draws inspiration from Max Porter's acclaimed novella "Shy," though with a crucial perspective shift. While the original text focused on a student, Porter's screenplay—his first—redirects attention to the exhausted but deeply compassionate headteacher portrayed by Murphy.

The project holds personal significance for Murphy, whose parents were educators. "Teachers shape future generations, yet their contribution often goes unacknowledged," he reflects. The film features an impressive ensemble including Tracey Ullman, Jay Lycurgo, Simbi Ajikawo, and Emily Watson, with whom Murphy previously collaborated on "Small Things Like These" under director Tim Mielants.

Murphy's involvement began when Porter shared an advance copy of his novella. "Some books feel perfect and seemingly impossible to adapt, especially when they're written as stream of consciousness," Murphy explains. The solution emerged during conversations with Porter following their previous collaboration, with Porter suggesting they pivot the narrative to focus on the headteacher, a minor character in the original text.

The casting process proved extensive, with approximately 3,500 young performers auditioned. Many cast members had limited acting experience, requiring intensive workshops at the actual filming location. "The boundary between actors and characters gradually dissolved," Murphy notes about this immersive preparation approach.

Despite industry speculation following his "Oppenheimer" success, Murphy confirms he hasn't pursued major studio franchises, dismissing rumors about potentially playing Voldemort in HBO's upcoming "Harry Potter" series.

Cillian Murphy stressed the imperative of depicting addiction's brutal reality without any glamorization, emphasizing its capacity to coexist with high-functioning lives.

His character's costume underwent weeks of meticulous refinement to signal exhaustion through subtle, non-distracting details—avoiding extremes of style or grooming.

Murphy adopted Ken Loach’s signature approach: shooting entirely in sequence to build instinctual emotional progression and isolating actors before confrontations for raw authenticity.

He expressed boundless admiration for Emily Blunt’s career-long influence and cherished reuniting with Roger Allam, who delivered a powerhouse performance in minimal screen time.

The screenplay for Steve was completed and funded before I began Oppenheimer, so the production simply waited until I’d finished the awards run.

It was all set to go — I didn’t have to shape it around Oppenheimer; I just needed to finish that chapter.

My taste and the kinds of stories I want to tell have evolved over roughly thirty years, and that gradual refinement guides my choices more than any one success.

Oppenheimer’s success was extraordinary and something I’m deeply grateful for, but it hasn’t altered the films I’m drawn to make.

I was tied up on two other projects immediately afterward, which is why something else didn’t come to pass; perhaps it’ll happen someday, or perhaps the moment has passed.

I can’t take credit for Nia DaCosta’s film, but I think she’s made something remarkable — it complements Danny’s movie beautifully.

My role in it is very small, but I’m proud of the work I was able to do.

That’s generous of you to say; I might view myself differently, but ultimately it’s subjective.

Following Ralph Fiennes would be a tall order — no easy task at all.

And no, I don’t get involved in those sorts of games.

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