Tim Roth on Life, Grief, and His Directorial Debut

Tim Roth relaxes in his chair, radiating an unexpected warmth as if the Atlantic’s summer breeze is gently kissing this part of Galway. He opens up about life, film, and, well, acting. It’s not a career he’d easily recommend to anyone.

“Oh, did I say that?” he chuckles, seemingly surprised. “I don’t really feel that way anymore. I must’ve had a rough patch, but it’s all good now,” he grins. “In fact, I’m growing fonder of it every day.”

This cheerful outlook contrasts with the deeper reflections he often portrays onscreen. Known for exploring human darkness, Roth addresses loss and sorrow—a theme reflective of his latest film, Poison, which echoes personal grief following a recent tragedy in his family.

“The film touches on something deeply emotional for my family right now,” he shares softly, with a distinct London accent that remains after years in Hollywood. “Everyone grieves differently—there’s no one right way to do it, is there? Otherwise, there’d be a set method for healing.”

Poison, directed by Désirée Nosbusch, features Roth and Trindilholm as a couple reuniting after a decade post the death of their son, only to find his remains disturbed by toxic leaks at the cemetery. The project, adapted from a play by Dutch writer Lott Wekemann, is a raw depiction of emotional turmoil, shot entirely at a Luxembourg cemetery.

In October 2022, just months after wrapping up filming, Roth faced the loss of his son, Cormack, who passed at 25 after battling stage 3 germ cell cancer. Roth reflected on his son’s encouragement; as he wrestled with whether to take on a filming commitment miles away from home, Cormack urged him to go. “He was totally supportive when I was working” Roth smiles, adding, “He likely wanted me out of the house for a bit.” If Cormack hadn’t wanted him to go, Roth thinks he wouldn’t have taken the role.

During filming, which coincided with the funeral, Roth remained hopeful for his son. “At that time, we were still fighting, so we kept a positive mindset,” he remembers, the seriousness of his tone stark against the backdrop of the joyful films he often makes.

Poison explores how grief can fracture relationships and highlights the profound individuality of mourning. “The film captures this truth: grieving is as unique as a fingerprint,” Roth explains. “It’s clear now that everyone—my friends, family—grieves in their own way, and that deserves respect.”

Before filming began, Roth confided in Nosbusch about his son’s illness. The director, who had gone through her own family struggles years back, was attentive, checking in daily. “I made sure to stay connected with him,” she recalls.

Nosbusch was heartbroken upon learning of Cormack’s passing. She wondered if the film had become an unsettling reality for Roth. Thankfully, the actor found solace in completing the project, affirming it helped him confront personal challenges.

Following Cormack’s death, his wife, Nicky Butler, and their other son, Hunter, expressed the intense impact of their loss, describing it as “a wave that crashed” and mourned the vibrant energy they had lost. They echoed one of Cormack’s guiding principles: “Make sure you’re doing what you love.”

Roth seems to embody this advice as he pursues his craft, a passion ignited in his teenage years. His long and varied career—from indie films to blockbusters—reflects an unwavering dedication to authenticity in his work.

He recalls his early days—”Genesis” was a musical play—and a time he stumbled into acting from doing temp jobs like stocking shelves and making cold calls. He describes himself as a terrible salesman, chuckling at his own lack of skill.

His break came in 1982 from a TV drama, and he soon found himself in noteworthy films, including 1990s Rosencrantz and Guildenstern Are Dead and Vincent & Theo. Critic Pauline Kael noted Roth’s impressive talent.

Roth’s career has spanned a range of films, and he early on decided that he wanted to be an actor, not a celebrity. When asked about doing “action hero” types of roles, he laughs softly. “I’m not a fit for that mold. Just doesn’t suit me,” he states, looking a bit rugged in jeans and boots.

He divides his work into two categories: roles that pay the bills and those that fulfill his artistic desires. “Some jobs feel numb,” he admits, laughing awkwardly when the conversation turns to his less flattering projects. He hints at one, refusing to list names, but acknowledges his role in United Passions as controversial.

Debacles teach valuable lessons, he reflects. “Sometimes the most disastrous experiences can end up being enlightening—it’s about doing your best, even when you’d rather not,” he shares.

He fondly recalls major projects, including his role as a villain in She-Hulk: Attorney at Law, and contributions to the visually stunning Planet of the Apes and the crime drama Tin Star.

Despite his feelings about watching his own films or engaging with reviews, Roth prefers not to focus on criticism. “You keep them in your head, but the backlash can be another story. Maybe I’m just protective about it,” he muses.

Addressing a film tackling disturbing themes of incest and violence, Roth acknowledges the sensitivity needed on set during such emotionally charged projects. “I appreciate when filmmakers truly grasp the weight of their content,” he says.

Poison mirrors Roth’s own engagements with grief. Nosbusch, a long-time performer and former Eurovision host, faced a challenging decade dedicated to this film. “It took a lot to get them talking in that cemetery scene,” she notes.

In a future conversation, Roth anticipates discussing a “comedy” film stemming from the Capitol events on January 6. He shares his views on political matters and expresses genuine concern about the ongoing implications of such developments.

“Trump? He’s managing the narrative remarkably,” Roth comments, then pauses before adding, “It’s absolutely heartbreaking.” He reflects on the danger he perceives his presidency has unleashed and expresses worry for his friends who might be at risk.

He’s bewildered by recently announced film tariffs, noting that while it may seem beneficial for production in the U.S., the situation is complicated. “None of us really understand that yet,” he admits.

Roth feels relief that political dynamics have shifted in his hometown, deeming it advantageous for everyone. Yet, he voices concern over figures gaining traction like Nigel Farage, adjusting his name humorously as he does so, indicating his disdain.

Home in Pasadena, Roth recently narrowly escaped a wildfire. “The flames were close, but we were lucky this time,” he recounts, relieved.

Despite political and natural uncertainties—and even the occasional thought of moving back to Europe—Roth has no desire to leave. “We chose this place for the schools, and that’s it,” he affirms, reflecting on the deep roots and unfolding history tied to his family here.

Poison is set to premiere on Sky Cinema on May 18th.