Kerry Condon’s stellar year continues to dazzle, and here’s the part most people miss: her ability to seamlessly transition between two wildly different roles in Train Dreams and F1: The Movie. Fresh off her Oscar-nominated performance in The Banshees of Inisherin, Condon is now a frontrunner for not one, but two films this season. In Train Dreams, directed by Clint Bentley and based on Denis Johnson’s novella, she plays Claire Thompson, a nature-loving friend to Joel Edgerton’s reclusive railroad worker. Meanwhile, in Joseph Kosinski’s F1: The Movie, she transforms into Kate McKenna, a sharp-witted racing car engineer who goes toe-to-toe with Brad Pitt’s character, Sonny Hayes. But what’s truly fascinating is how Condon’s personal passions—her love for nature and her unexpected connection to the world of racing—shaped these roles. But here’s where it gets controversial: Can an actor’s personal life truly elevate their on-screen performance, or is it just a happy coincidence? Let’s dive in.
DEADLINE: What drew you to Clint Bentley and Greg Kwedar’s script for Train Dreams?
KERRY CONDON: It was the way nature was woven into the story—almost like a character itself. I’ve always been drawn to films where the environment plays such a pivotal role. Nature isn’t just a backdrop here; it’s a silent force that shapes the narrative. Lines like Bill Macy’s character’s reflections on cutting down trees and its impact on the soul really resonated with me. It’s a beautiful, profound film, and I knew I had to be a part of it.
DEADLINE: Your scene in the fire tower with Joel Edgerton is particularly powerful. How did you approach that moment?
CONDON: That scene was all about connection—both to nature and to grief. The way the dialogue was crafted, it felt so authentic and raw. Having experienced grief in my own life, I could relate to the character’s struggle and her attempt to help Joel’s character find solace in nature. It was a deeply moving experience to film.
DEADLINE: You own a farm and are deeply connected to nature. How did that influence your portrayal of Claire?
CONDON: Being on set in the rustic landscapes of Washington State felt like coming home. Claire’s relationship with Robert Grainier is one of ease and familiarity, almost like old friends. Interestingly, Joel and I first worked together when I was 19 on Ned Kelly in Australia. Our first scene then was on horseback, and our first scene in Train Dreams was on a horse and cart. It felt like a full-circle moment, especially since the Pacific Northwest is where my farm is. It was as if the universe was telling me, ‘This is where you’re meant to be.’
DEADLINE: Speaking of fate, Joel Edgerton’s journey with this project seems almost serendipitous.
CONDON: Absolutely. Timing is everything, isn’t it? Joel had wanted to buy the rights to the novella years ago, but it wasn’t until now that it all came together. He even admitted that if he’d done it earlier, it might not have had the same impact on him as it does now, especially since he’s a family man. It’s a beautiful reminder of how life’s timing can shape our experiences.
DEADLINE: What was it like working with Clint Bentley as a director?
CONDON: Clint sees the world in a way that I deeply connect with. His artistic vision and empathy are unparalleled. He’s not in this for the fame or the big-name movies; he’s here to tell meaningful stories, especially about working-class people. His respect for every department on set and his ability to create a collaborative environment made the experience truly special. Plus, his background in filmmaking about jockeys—and the fact that his dad is a jockey—added an extra layer of authenticity to our conversations.
DEADLINE: The natural lighting in Train Dreams is stunning. How did that impact your performance?
CONDON: The natural light in scenes like the balcony moment added a layer of realism that’s hard to achieve otherwise. Clint’s attention to detail and his commitment to using natural elements made the film visually breathtaking. When the budget isn’t massive, lighting becomes even more critical—it can make or break a scene. Clint’s taste is impeccable, and it shows.
DEADLINE: For F1: The Movie, you worked closely with real-life engineers. What was that process like?
CONDON: I was sent to Barcelona to experience a Formula One race firsthand, which was eye-opening. Meeting Bernie Collins, a real-life strategist, was a game-changer. She broke down the technical aspects of the sport in a way that was accessible yet detailed. I even read Adrian Newey’s book How to Build a Car to immerse myself in the world of engineering. The challenge was balancing the technical jargon with making it understandable for the audience. I think my lack of prior knowledge actually helped—it allowed me to approach the material with fresh eyes and ensure it was relatable for viewers who aren’t F1 enthusiasts.
DEADLINE: Shooting on a real racetrack must have been intense. How did you handle the pressure?
CONDON: It was exhilarating! Knowing we only had a few takes during live races added a layer of adrenaline, but I thrive under pressure. Joseph Kosinski and the AD team were incredibly prepared, which made the process smoother. I also made sure to respect the environment—I didn’t want to be a distraction. I did my job, stayed focused, and then retreated to my trailer. It was a unique experience, and I’m grateful for it.
DEADLINE: The dynamic between your character and Brad Pitt’s is both flirty and powerful. How did you navigate that?
CONDON: Building that dynamic was tricky, especially since we filmed scenes out of order. I wanted Kate to be confident at work but perhaps shy in personal interactions, which added depth to her character. The pub scene, for example, was challenging due to the smoke and continuity issues, but it turned out to be one of the film’s standout moments.
DEADLINE: With these two films under your belt, what’s next on your list?
CONDON: For the first time in my career, I’m in a position to be selective. It’s a luxury I’ve never had before, and I’m excited to see what comes next. I’m open to new challenges and stories that resonate with me.
Controversial Question: Do you think actors should always bring their personal lives into their roles, or is it better to keep them separate? Share your thoughts in the comments—let’s spark a discussion!
