Tim Roth
Birthday:
Birthplace:
London, England, UK
With lean hangdog looks that make him a natural for the criminals and fringe dwellers he usually plays, Tim Roth has the uncanny and incredibly effective ability to make sleaze look sexy, or at least raggedly photogenic. Since his debut in the made-for-TV Made in Britain at the age of 18, Roth has joined fellow Briton Gary Oldman as one of the leading interpreters of society's underbelly. His ability has been particularly appreciated by director Quentin Tarantino, who helped to propel Roth to international recognition with prominent roles in Resevoir Dogs and Pulp Fiction in the early '90s. Since then, Roth has continued to portray a variety of gritty characters, occasionally making room for the odd sympathetic or lighthearted role.Born in London on May 14, 1961, to a journalist father and landscape painter mother, Roth initially wanted to become a sculptor. After an education at London's Camberwell School of Art, he decided to try his hand at acting, first appearing in a production of Jean Genet's The Screens. Roth's television debut in the 1981 film Made in Britain garnered critical raves for the actor, who portrayed a poverty-stricken juvenile delinquent with profanity-spewing gusto. The same year, he appeared with Gary Oldman in Mike Leigh's Meantime, a made-for-TV movie that was eventually released theatrically, but Roth's bona fide screen debut didn't come until 1984, when he played an apprentice hitman in Stephen Frears' The Hit. Co-starring Terence Stamp and John Hurt, the film did moderately well and earned Roth an Evening Standard Award for Most Promising Newcomer. Thanks to such positive notices, the young actor continued to find work throughout the rest of the decade, making appearances in a variety of films, including former Kinks frontman Ray Davies' 1985 musical Return to Waterloo. In 1990, Roth began to enjoy a limited amount of international attention, thanks to two starring roles, his acclaimed portrayal of Vincent Van Gogh in Robert Altman's Vincent and Theo and a title role in the critically lauded film adaptation of Tom Stoppard's Rosencrantz and Guildenstern Are Dead. Starring opposite Gary Oldman, Roth made an impression on many a filmgoer, including Quentin Tarantino. Tarantino cast Roth as undercover policeman Mr. Orange in his 1992 ensemble piece Resevoir Dogs, a film that allowed the actor to prove he could do an American accent and bleed to death convincingly. The success of Resevoir Dogs paved the way for more Hollywood work for Roth. In a drastic departure from his previous work, he next starred in the 1993 comedy Bodies, Rest & Motion alongside Bridget Fonda, Phoebe Cates, and Eric Stoltz. The following year, Roth returned to more familiar territory, as a hit man in Little Odessa and as one of the robbers who catalyzes the action of Tarantino's Pulp Fiction. After the enormous success of the latter film, the actor appeared the same year in the psychologically terrifying TV adaptation of Joseph Conrad's Heart of Darkness alongside John Malkovich, who played the unhinged Kurtz. After a disastrous third collaboration with Tarantino, the critically and commercially disemboweled Four Rooms (1995), Roth had significantly greater success portraying an ominously prissy English nobleman in Rob Roy, winning a Best Supporting Actor Oscar nomination for his work, along with a Golden Globe nomination and a British Academy Award. Staying true to his habit of jumping from genre to genre, Roth next appeared as a convict with a jones for Drew Barrymore in Woody Allen's musical comedy Everyone Says I Love You (1996) before playing a mobster in 1930s Harlem in Hoodlum (1997). Roth remained in a down and dirty milieu for his next film, Vondie Curtis-Hall's Gridlock'd, which featured the actor, as well as Thandie Newton and Tupac Shakur, as modern-day heroin addicts. Although the film received critical praise, it failed to make a significant impression at the box office. Roth's subsequent films unfortunately suffered
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Highest Rated Movies
Filmography
MOVIES
RATING | TITLE | CREDIT | BOX OFFICE | YEAR |
---|---|---|---|---|
No Score Yet | Bergman Island |
|
— | 2021 |
39% | The Song of Names |
|
— | 2019 |
91% | QT8: The First Eight |
|
— | 2019 |
90% | Luce |
|
— | 2019 |
0% | The Con Is On |
|
— | 2018 |
No Score Yet | La truffa è servita |
|
— | 2018 |
No Score Yet | 1 Mile to You |
|
— | 2017 |
77% | Chronic |
|
$5.7k | 2016 |
52% | Hardcore Henry |
|
$9.3M | 2016 |
44% | Mr. Right |
|
$25.9k | 2016 |
74% | The Hateful Eight |
|
$54.2M | 2015 |
0% | United Passions |
|
$900 | 2015 |
21% | October Gale |
|
— | 2015 |
94% | 600 Miles |
|
— | 2015 |
99% | Selma |
|
— | 2014 |
95% | Finding Vivian Maier |
|
— | 2014 |
10% | Grace Of Monaco |
|
$0.7M | 2014 |
No Score Yet | Klondike |
|
— | 2014 |
90% | A Fuller Life |
|
— | 2014 |
63% | Broken |
|
— | 2013 |
No Score Yet | Möbius |
|
— | 2013 |
61% | The Liability |
|
— | 2013 |
87% | Arbitrage |
|
$8M | 2012 |
75% | These Amazing Shadows |
|
— | 2011 |
No Score Yet | Pete Smalls is Dead |
|
— | 2011 |
No Score Yet | Skellig |
|
— | 2009 |
No Score Yet | Monty Python Almost the Truth Obligatory Making of Special |
|
— | 2009 |
No Score Yet | King Conqueror |
|
— | 2009 |
67% | The Incredible Hulk |
|
$134.6M | 2008 |
52% | Funny Games |
|
$1.1M | 2008 |
No Score Yet | Six Bullets from Now |
|
— | 2008 |
32% | Youth Without Youth |
|
$0.2M | 2007 |
No Score Yet | Virgin Territory |
|
— | 2007 |
No Score Yet | Tsunami, The Aftermath |
|
— | 2006 |
24% | Even Money |
|
— | 2006 |
43% | Don't Come Knocking |
|
$0.4M | 2006 |
No Score Yet | Killing Emmett Young |
|
— | 2005 |
47% | Dark Water |
|
$25.5M | 2005 |
78% | The Beautiful Country |
|
$0.3M | 2005 |
No Score Yet | Nouvelle-France |
|
— | 2005 |
48% | Silver City |
|
$0.9M | 2004 |
No Score Yet | The Last Sign |
|
— | 2004 |
17% | Battle of the Brave |
|
— | 2004 |
60% | To Kill a King |
|
— | 2003 |
No Score Yet | Whatever We Do |
|
— | 2003 |
54% | Invincible |
|
— | 2002 |
11% | The Musketeer |
|
$26.6M | 2001 |
44% | Planet of the Apes |
|
$178.1M | 2001 |
No Score Yet | We Know Where You Live |
|
— | 2001 |
67% | Bread and Roses |
|
— | 2001 |
31% | Vatel |
|
— | 2000 |
22% | Lucky Numbers |
|
$9.6M | 2000 |
25% | The Million Dollar Hotel |
|
— | 2000 |
84% | The War Zone |
|
— | 1999 |
54% | The Legend of 1900 (La leggenda del pianista sull'oceano) |
|
— | 1999 |
No Score Yet | Ángeles y Demonios |
|
— | 1998 |
48% | Deceiver |
|
$0.6M | 1998 |
43% | Hoodlum |
|
— | 1997 |
No Score Yet | No Way Home |
|
— | 1997 |
88% | Gridlock'd |
|
— | 1997 |
13% | Four Rooms |
|
— | 1996 |
79% | Everyone Says I Love You |
|
— | 1996 |
25% | Captives |
|
— | 1996 |
61% | Little Odessa |
|
— | 1995 |
73% | Rob Roy |
|
— | 1995 |
92% | Pulp Fiction |
|
— | 1994 |
40% | Heart of Darkness |
|
— | 1994 |
No Score Yet | Murder in the Heartland |
|
— | 1993 |
53% | Bodies, Rest & Motion |
|
— | 1993 |
No Score Yet | The Perfect Husband |
|
— | 1992 |
92% | Reservoir Dogs |
|
— | 1992 |
No Score Yet | Jumpin' at the Boneyard |
|
— | 1992 |
61% | Rosencrantz and Guildenstern Are Dead |
|
— | 1991 |
89% | Vincent & Theo |
|
— | 1990 |
85% | The Cook, the Thief, His Wife & Her Lover |
|
— | 1989 |
80% | To Kill a Priest |
|
— | 1988 |
91% | A World Apart |
|
— | 1988 |
No Score Yet | Bloody Pom Poms (Cheerleader Camp) |
|
— | 1988 |
No Score Yet | Murder with Mirrors |
|
— | 1985 |
87% | The Hit |
|
— | 1984 |
75% | Meantime |
|
— | 1983 |
No Score Yet | Made in Britain |
|
— | 1982 |
No Score Yet | King of the Ghetto |
|
— |
TV
RATING | TITLE | CREDIT | YEAR |
---|---|---|---|
No Score Yet |
The Late Late Show With James Corden
2015
|
|
|
57% |
Tin Star
2017-2019
|
|
|
No Score Yet |
Last Call With Carson Daly
2007-2019
|
|
|
83% |
Rillington Place
2016-2017
|
|
|
No Score Yet |
Late Night With Seth Meyers
2014
|
|
|
No Score Yet |
Charlie Rose
2013-2017
|
|
|
No Score Yet |
Jimmy Kimmel Live
2003
|
|
|
80% |
Klondike
2014
|
|
|
78% |
Lie to Me
2009-2011
|
|
|
No Score Yet |
Chelsea Lately
2007-2014
|
|
|
No Score Yet |
The Henry Rollins Show
2006-2007
|
|
|
No Score Yet |
The Tonight Show With Jay Leno
1992-2014
|
|
|
82% |
Tales from the Crypt
1989-1996
|
|
|
No Score Yet |
Great Performances
2000
|
|
|
Quotes from Tim Roth's Characters
Oswaldo Mobray: | "Kick it in! Kick it in!" |
Oswaldo Mobray: | Kick it in! Kick it in! |
Oswaldo Mobray: | The man who pulls the lever that breaks your neck, will be a dispassionate man. And that dispassion, is the very essence of justice. For justice delivered without dispassion, is always in danger, of not being justice. |
Oswaldo Mobray: | If you're found guilty, the poeple of Red Rock will hang you in the Town Square. And as the Hang Man, I will perform the execution. And, if all those things end up taking place, that's what civilized society calls 'Justice'. , However, if the relatives, and the loved ones of the person you murdered were outside that door right now, and after BUSTING down that door....they drag you out into the snow and hang you up by the neck, that would be Frontier Justice. To me it doesn't matter what you did. When I hang you I'll get no satisfaction from your death. It's my job. I hang you in Red Rock, I move on to the next town..I hang someone else there. |
Mr. Orange/Freddy: | He's convinced me, gimme back my dollar! |
Prince Rainier III: | Why are you still here Grace? |
Pumpkin: | What's in the case? |
Jules Winnfield: | My boss's dirty laundry. |
Pumpkin: | Your boss makes you do his laundry? |
Jules Winnfield: | When he wants it cleaned. |
Pumpkin: | Sounds like a shit job. |
Jules Winnfield: | I was thinking the same thing. |
Marvin Nash: | Hey Freddy. How do I look? |
Mr. Orange/Freddy: | (chuckles) I don't know what to tell you Marvin. |
Mr. Orange/Freddy: | [chuckles] I don't know what to tell you Marvin. |
Mr. Brown: | Let me tell you what "Like a Virgin" is about. It's all about a girl who digs a guy with a big dick. The entire song. It's a metaphor for big dicks. |
Mr. Blonde/Vic Vega: | No, no. It's about a girl who is very vulnerable. She's been fucked over a few times. Then she meets some guy who's really sensitive... |
Mr. Brown: | Whoa, whoa, whoa, whoa, whoa... Time out Greenbay. Tell that fucking bullshit to the tourists. |
Joe Cabot: | Toby... Who the fuck is Toby? Toby... |
Mr. Brown: | "Like a Virgin" is not about this sensitive girl who meets a nice fella. That's what "True Blue" is about, now, granted, no argument about that. |
Mr. Orange/Freddy: | Which one is "True Blue"? |
Nice Guy Eddie: | "True Blue" was a big ass hit for Madonna. I don't even follow this Tops In Pops shit, and I've at least heard of "True Blue". |
Mr. Orange/Freddy: | Look, asshole, I didn't say I ain't heard of it. All I asked was how does it go? Excuse me for not being the world's biggest Madonna fan. |
Mr. Blonde/Vic Vega: | Personally, I can do without her. |
Mr. Blue: | I like her early stuff. You know, "Lucky Star", "Borderline" - but once she got into her "Papa Don't Preach" phase, I don't know, I tuned out. |
Mr. Brown: | Hey, you guys are making me lose my... train of thought here. I was saying something, what was it? |
Joe Cabot: | Oh, Toby was this Chinese girl, what was her last name? |
Mr. White/Larry: | What's that? |
Joe Cabot: | I found this old address book in a jacket I ain't worn in a coon's age. What was that name? |
Mr. Brown: | What the fuck was I talking about? |
Mr. Pink: | You said "True Blue" was about a nice girl, a sensitive girl who meets a nice guy, and that "Like a Virgin" was a metaphor for big dicks. |
Mr. Brown: | Lemme tell you what 'Like a Virgin' is about. It's all about this cooze who's a regular fuck machine, I'm talking morning, day, night, afternoon, dick, dick, dick, dick, dick, dick, dick, dick, dick. |
Mr. Blue: | How many dicks is that? |
Mr. White/Larry: | A lot. |
Mr. Brown: | Then one day she meets this John Holmes motherfucker and it's like, whoa baby, I mean this cat is like Charles Bronson in "The Great Escape", he's digging tunnels. Now, she's gettin' the serious dick action and she's feeling something she ain't felt since forever. Pain. Pain. |
Joe Cabot: | Chew? Toby Chew? |
Mr. Blonde/Vic Vega: | It hurts her. It shouldn't hurt her, you know, her pussy should be Bubble Yum by now, but when this cat fucks her it hurts. It hurts just like it did the first time. You see the pain is reminding a fuck machine what it once was like to be a virgin. Hence - "Like a Virgin". |
Joe Cabot: | Wong? |
Joe Cabot: | Wait a minute, who didn't throw in? |
Mr. Orange/Freddy: | Mr. Pink. |
Joe Cabot: | Mr. Pink? Why didn't you throw in? |
Mr. Orange/Freddy: | He don't tip. |
Joe Cabot: | He don't tip? What do you mean you don't tip? |
Mr. Orange/Freddy: | He don't believe in it. |
Joe Cabot: | Shut up. |
Joe Cabot: | Hey, who didn't throw in? |
Mr. Orange/Freddy: | Mr Pink |
Mr. Orange/Freddy: | Mr Pink. |
Mr. Orange/Freddy: | Mr. Pink. |
Mr. Orange/Freddy: | Larry,...... I'm a cop. |
Mr. Orange/Freddy: | Larry... I'm a cop. |
Thade: | We underestimate this human! |
Thade: | If you see the humans, kill them all! |
Emil Blonsky: | You don't deserve this power. Now watch her die! |
Emil Blonsky: | Is that all you got? |
Jules Winnfield: | I want you to go in that bag, and find my wallet. |
Pumpkin: | Which one is it? |
Jules Winnfield: | It's the one that says Bad Motherfucker |
Jules Winnfield: | [All while Honey Bunny is screaming] Tell that bitch to be cool! Say 'bitch be cool'! |
Pumpkin: | Be cool honey! |
Jules Winnfield: | Say bitch be cool! Tell that fuckin' bitch to chill! |
Pumpkin: | Be cool Honey Bunny! |
Jules Winnfield: | Chill that fuckin' bitch out! |
Pumpkin: | Shut up, Honey! |
Rosencrantz: | To sum up: your father, whom you love, dies. You are his heir. You come back to find that hardly was the corpse cold before his young brother pops onto his throne and into his sheets, thereby offending both legal and natural practice. Now... why exactly are you behaving in this extraordinary manner? |
Guildenstern: | I can't imagine. |
Pumpkin: | (pulls out a gun) Everyone stay cool. This is a robbery! |
Pumpkin: | [pulls out a gun] Everyone stay cool. This is a robbery! |
Honey Bunny: | (pulls out a gun) ANYONE OF YOU FUCKING PRICKS MOVE AND I'LL EXECUTE EVERY LAST FUCKING ONE OF YOU |
Honey Bunny: | [pulls out a gun] ANYONE OF YOU FUCKING PRICKS MOVE AND I'LL EXECUTE EVERY LAST FUCKING ONE OF YOU! |
Killearn: | Would you like me to take your chamberpot? |
Cunningham: | ... |
Killearn: | I know many a Scotsman who would be glad of this on a cold morning; it's almost pure spirit, and I'm no judge of a pint of pish. |
Jules Winnfield: | I love you, Pumpkin. |
Honey Bunny: | I love you, Pumpkin. |
Pumpkin: | I love you, Honey Bunny. |
Pumpkin: | All right, everybody be cool, this is a robbery! |
Jules Winnfield: | Any of you f**king pricks move, and I'll execute every motherf**king last one of ya! |
Honey Bunny: | Any of you f**king pricks move, and I'll execute every motherf**king last one of ya! |
Betty: | But I love you, Archie! |
Cunningham: | Love is a dunghill, Betty, and I am but a cock who climbs upon it to crow. |
Sutter: | Share this quote -------------------------------------------------------------------------------- Howard Spence: Mind if I turn the radio on? Sutter: Yes, I do, as a matter of fact. I don't like outside influence. Howard Spence: Outside? Sutter: That's right. The world at large. It's a nasty place. Why allow it in? Livestalk reports, Navajo chanting, beheadings, bestiality. Nothing's changed. Black Death, the Inquisition, the Crusades, conquest of Mexico. What's changed? Howard Spence: I was thinking... Sutter: What? Howard Spence: I don't know. Sutter: Nothing's changed. Howard Spence: Guess not. |
Howard Spence: | Mind if I turn the radio on? |
Sutter: | Yes, I do, as a matter of fact. I don't like outside influence. |
Howard Spence: | Outside? |
Sutter: | That's right. The world at large. It's a nasty place. Why allow it in? Livestalk reports, Navajo chanting, beheadings, bestiality. Nothing's changed. Black Death, the Inquisition, the Crusades, conquest of Mexico. What's changed? |
Howard Spence: | I was thinking... |
Sutter: | What? |
Howard Spence: | I don't know. |
Sutter: | Nothing's changed. |
Howard Spence: | Guess not. |
Major Kathleen Sparr: | How are you feeling sir? |
Major Kathleen Sparr: | How are you feeling, man? |
Emil Blonsky: | Like a monster. |
Nice Guy Eddie: | Cummon, throw in a buck |
Nice Guy Eddie: | C'mon, throw in a buck! |
Joe Cabot: | C'mon, throw in a buck! |
Mr. Pink: | uh-uh....i dont tip. |
Mr. Pink: | Uh-uh, I don't tip. |
Nice Guy Eddie: | Whaddaya mean you don't tip? |
Joe Cabot: | Whaddaya mean you don't tip? |
Mr. Pink: | I don't believe in it. |
Mr. Orange/Freddy: | He don't believe in it. |
Honey Bunny: | I love you, Pumpkin. |
Pumpkin: | I love you, Honey Bunny. Everybody be cool, this is a robbery! |
Honey Bunny: | Get up, you fucking pricks move, or I'll execute every motherfucking last one of you! |
Dutch Schultz: | Sometimes you win, sometimes you fuckin loose |
Dutch Schultz: | Sometimes you win, sometimes you fuckin' loose. |
Honey Bunny: | [about to rob a diner] I love you, Pumpkin. |
Honey Bunny: | [About to rob a diner] I love you, Pumpkin. |
Pumpkin: | I love you, Honey Bunny. |
Pumpkin: | [Standing up with a gun] All right, everybody be cool, this is a robbery! |
Honey Bunny: | Any of you fucking pricks move, and I'll execute every motherfucking last one of ya! |
Emil Blonsky: | This is a whole new level of weird. |