The world of filmmaking is often filled with surprises, and none more so than when an actor's career takes an unexpected yet thrilling turn—highlighted by moments that seem almost serendipitous. But here's where it gets controversial: how much of that success is purely timing, and how much is talent or preparation? Kerry Condon's 2023 year is a perfect example of this delicate dance. Having garnered her very first Oscar nomination for her part in "The Banshees of Inisherin," she now finds herself in the spotlight for not just one, but two promising projects this season.
In "Train Dreams," helmed by Clint Bentley and inspired by Denis Johnson’s novella, Condon steps into the role of Claire Thompson. She plays a friend to Robert Grainier, portrayed by Joel Edgerton, a quiet, reclusive railroad worker. Meanwhile, in Joseph Kosinski’s "F1: The Movie," she inhabits Kate McKenna, a talented race car engineer who finds herself caught in a fierce rivalry with Brad Pitt’s character, Sonny Hayes. Throughout this interview, Kerry opens up about how her passion for nature drew her to the film set in rural Washington, and how her meticulous research — including connecting with a real female Formula One engineer — deepened her portrayal.
But let’s start with what truly captivated her: the script of "Train Dreams."
DEADLINE: What was it about Clint Bentley and Greg Kwedar’s screenplay that first drew you in?
KERRY CONDON: It was definitely the aspect of nature that resonated so strongly. Nature plays such a pivotal role in the story—it’s almost like a character itself. I’ve always appreciated films where the natural environment isn’t just a backdrop but an integral part of the narrative. I have a genuine respect and love for nature, so I really wanted that to be reflected on screen. The lines spoken by Bill Macy’s character, especially about chopping down trees and how that impacts your soul, really struck me. It made me think, “Wow, this is a beautiful, soul-deep story,” and I simply knew I had to be a part of it. It was the visual poeticism and spiritual depth that convinced me.
DEADLINE: You have a touching speech with Joel on the fire tower that touches on nature’s power and its role in healing grief. Can you tell us more about that?
CONDON: Absolutely. What really moved me was how the lines conveyed the profound connection between grief, healing, and nature. Having seen grief portrayed in other movies, I appreciated how this script framed it in relation to the natural world. It was so eloquent—how nature can be a source of comfort, a way of managing pain, and ultimately helping you find closure. That was very meaningful to me.
And this is the part most people might miss: Kerry’s own life deeply immerses her in nature. She owns a farm and lives close to rural landscapes, which naturally enhances her understanding of her character Claire.
DEADLINE: How did being on set amid the rustic environment of Washington state help you connect to your character?
CONDON: It was fantastic. In the screenplay, Claire feels like an old friend to Robert—so there was a mutual sense of ease from the start. Joel and I had met years earlier when I was just 19, during filming of "Ned Kelly" in Australia. Back then, we shared a scene riding horses, so returning to that environment was like a full-circle moment for me. The rural setting of the Pacific Northwest is also close to where I have my farm, which made the experience even more personal. Shooting in such a genuine, natural environment helped me deepen my connection to Claire, making her feel like a familiar, lived-in character rather than just a fictional role.
DEADLINE: It seems like fate played a role here—Joel Bentley had the rights to the story for years, and suddenly, the opportunity arose for him—and maybe for you—to participate."
CONDON: Exactly. Timing really is everything. Joel admitted that if he had taken on this project earlier, it might not have resonated as much with him, especially considering his family commitments now. Sometimes, the stars align perfectly, and you realize the moment is right for something meaningful like this.
DEADLINE: What was it like working under Clint Bentley’s direction? How would you describe his approach to filmmaking?
CONDON: I remember thinking early on that Clint sees the world the way I do—there was that shared perspective, which drew me to the project. We also bonded over our love of horses—he had just made a film about a jockey, and I’m obsessed with racehorses myself. We discussed equestrian life during our Zoom meeting, and I learned he has a very authentic, artistic vision. He’s genuinely committed to creating meaningful, grassroots stories rather than chasing fame or blockbuster status. His empathy and respect for each department—especially how he surrounds himself with talented team members—show through in the final product. He was also incredibly grateful when I took time off from F1 work to join this project, which didn’t go unnoticed. And his ability to work subtly—hiding the camera under natural light, letting scenes breathe naturally—contributed to how real and intimate every shot feels, like the balcony scene, which looks stunningly authentic due to the natural sunset lighting.
DEADLINE: Speaking of F1, your preparation process involved intense research and meetings with professionals in the field. What was that experience like?
CONDON: They first took us to Barcelona to experience a real F1 race—something I’d never done before. It was an entire immersion, meeting with engineers and strategists to understand the racing world. I was introduced to Bernie Collins, a brilliant Irish strategist, who explained complex concepts in a way that made me realize how technically demanding Formula One truly is. I read a book by Adrian Newey, which helped me grasp some of the technical details, even if I’m not naturally inclined toward physics. We went scene by scene, with Bernie breaking down what each line and action meant, aiming to make everything accessible for the audience without turning the film into a technical documentary. This was crucial because I wanted viewers—whether F1 fans or newcomers—to feel connected to my character’s expertise.
DEADLINE: Even as someone unfamiliar with physics, I was following along—your approach clearly made that possible.
CONDON: I appreciate that! It was about striking a balance—making the dialogue sound natural and authoritative without alienating viewers who aren’t familiar with racing. And honestly, because I didn’t already know all the technical jargon, I think I approached it with fresh eyes, which helped keep it relatable.
DEADLINE: You also shot at the actual racetrack during live events. What was that experience like?
CONDON: It was exhilarating. I knew beforehand that filming at a real race had an element of unpredictability. Joe Kosinski warned me about the limited takes because of the live environment, and I thrive under pressure. The crew was incredibly well-prepared—it helped that I come from a theater background where I’m used to performing under intense conditions. During filming, we operated almost as guest spectators—respectful of the teams and the event—focused solely on our work and not causing distractions. We also had clear communication with the crew, which made everything run smoothly.
DEADLINE: Did you get a chance to drive one of the race cars?
CONDON: Everyone asks me that, and my answer is: You can’t just hop into a Formula One car for a quick spin. Even Brad Pitt, who is a talented actor and athlete, can’t simply jump into one without intense training. Those cars are complex machines with dozens of buttons, controls, and systems—you have to learn slowly. If I ever sat in one, I wouldn’t even know how to turn it on! You risk major damage or expensive accidents—and trust me, I was very aware of that.
DEADLINE: There was that incident in Abu Dhabi, right?
CONDON: Yes, that’s right. I realized I was really getting into my character when I started thinking about costs after minor accidents. I remember asking how much the damages were, and they told me it could be $150,000! I was like, “F*ck, guys.” Toto Wolff, Mercedes’ team boss, pointed out that’s exactly what you think about when something breaks—that the real cost is mind-blowing, even though we’re just actors.
DEADLINE: You were really immersed in that world.
CONDON: Absolutely. It’s both thrilling and humbling.
And finally, the chemistry with Brad Pitt — their dynamic is a perfect mix of flirtatious tension and mutual power—was something she carefully crafted. They rehearsed scenes in sequence, but the shooting order was all over the place due to scheduling. Kerry reflects on the challenge of building a connection amid such chaos but acknowledges that working under these conditions pushed her to be adaptable. She also shares her thoughts on portraying a woman who appears confident professionally but also harboring insecurities around men—a nuanced approach that adds depth to her character.
In closing, Kerry’s journey through two contrasting worlds—rural storytelling and high-speed racing—exemplifies how openness to new experiences and impeccable timing can open extraordinary doors. She ponders her future projects with excitement and a sense of patience that many actors dream of after years of relentless auditioning and financial pressures. And so I ask you: Do you believe that luck plays the biggest role in success, or is persistent talent enough to ignite exactly at the right moment? Share your thoughts in the comments—truth, insight, or controversy welcomed.
