Colin O’Brien | BELLO Young Hollywood
Colin O’Brien may be young, but his journey in the entertainment industry is already filled with compelling roles, unforgettable experiences, and an undeniable passion for storytelling. From his early days in theater to landing major screen roles, Colin has seamlessly navigated different genres, bringing depth and authenticity to every performance. Whether portraying the emotionally complex Edward Adler in Dear Edward or stepping into the eerie world of Stephen King’s The Monkey, he continues to challenge himself and evolve as an actor. In this interview, Colin takes us behind the scenes of his career, sharing insights on his inspirations, creative process, and what it’s like working with some of Hollywood’s finest talents.
You began your acting career at a young age, performing in numerous stage productions before transitioning to film and television. What inspired you to pursue acting, and how has your early theater experience influenced your approach to screen acting?
I came to acting in a round about way. When I was around 3, my mom worked on a film called Sacrifice (2014). I was amazed when I watched them crash a motor home over a cliff and pull it back up for repeated crashes. It was like magic to me. I wanted to be part of that, so we auditioned for a MainStage production of The Wizard of Oz in Conroe, TX that summer. It also was meant to help my brother, who’d just been diagnosed with Asperger’s. Then when he was 13 and I was 10, he asked for an on-camera class for his birthday. I tagged along and instantly fell in love with the process. I realized that acting behind the camera was quieter, life like, so I adjusted.
Portraying Edward Adler in the Apple TV+ series “Dear Edward” was a significant role for you. How did you prepare for the emotional depth required for this character, and what did you learn from working alongside seasoned actors like Connie Britton and Taylor Schilling?
I looked up the author’s source material the book, Dear Edward, which was the story of a Dutch boy who had been the sole survivor of a plane crash on his way from South Africa to Libya. His whole family died, so he had to live with his aunt. I’m very close to my family, so it wasn’t hard to imagine the impact of loss like that. It just not something a person ever fully bounces back from, I thought. It seemed that life would be haunted by memories of your family and that we would instinctively try to preserve that, which is why I think Edward hallucinates his brother being alive.
Q: Your roles have spanned various genres, from drama to horror. How do you adapt your acting techniques to fit different genres, and do you have a preference for a particular type of role?
I adapt my acting skills based on the script more than the genre. For The Monkey, for instance, Oz wanted humor, but wanted Hal and Petey to be deadpan, which is different from the other characters.
As a young actor navigating the entertainment industry, what challenges have you encountered, and how do you balance your professional career with personal development and education?
Acting can be isolating when you’re on location, especially if you’re not acting with other kids. This can be challenging. I’ve come to rely on virtual classes in situations like this and keeping in contact with friends and family via zoom and FaceTime. I also make sure to run or work-out.
In “Mr. Harrigan’s Phone,” you portrayed a younger version of Jaeden Martell’s character. How did you ensure continuity in your performance to align with his portrayal, and what was your experience like on that set?
Knowing that Craig lost his mother helped me find young Craig and his sorrow. Joe Tippets’s superb acting and soulful portrayal of his character’s loss of his wife , helped me as well. I didn’t get to watch Jaeden act or see his scenes, but John Lee Hancock’s direction help unite our performances. Finally, working with Donald Sutherland in those scenes where we discuss literature, helped me find the parallels between what I read to him and how the themes relate to Young Craig’s life. I will always be inspired by Donald Sutherland’s ability to immerse himself in a scene and understand the nuances of a scene.
You’ve had the opportunity to work with various directors early in your career. How have these collaborations influenced your acting style, and are there any directors you aspire to work with in the future?
Paul King liked to share footage with me and refer to it when he gave direction. This helped my self tape process, as you have to watch yourself and make adjustments when self taping. John Lee Hancock helped make me more aware of how my body contributes to the tone of a scene-being still or moving affects tension. He was very deliberate about this. Jason Katims discussions off-camera helped me find Edward. Each director of Dear Edward helped me focus on something new, as the approach of each director was unique. Working on a series is like an acting gym in some ways. I think Oz likes contrasts and comic relief. He’s a visual guy who sees more than what’s in front of him. He sees how the scene will look after CGI, for instance. He also has a wicked sense of humor.
In “The Monkey,” you play Petey Shelburn, the son of Hal Shelburn, portrayed by Theo James. What drew you to this role, and how did you prepare to depict the complexities of a family affected by a cursed toy?
Petey doesn’t know about the curse or The Monkey for a while. I had to stay aware of how much Petey knew at given points, as we filmed scenes out of sequence. He was completely oblivious, as his main concern was his relationship with Hal, his dad, and navigating his life with his step father, the fatherhood guru. Part of the tension between them is that their being together means something different to each of them. Hal is constantly distracted, and Petey is chill and watchful, at least until he learns about The Monkey.
The film blends horror and dark comedy, a unique combination. How did you navigate the tonal shifts in your performance, and what was it like working under the direction of Osgood Perkins on this Stephen King adaptation?
No one has a darker sense of humor than Osgood Perkins, and I Ioved being in that space with him as Petey. Part of the shifts for Petey are dictated by what he knows and doesn’t know. He’s deprived of knowing about the family curse at first, which creates situational humor as he’s poking around Aunt Ida’s house, for instance, oblivious to the booby traps. Oz wanted me to be a grounding force for Hal, and to bring some logical perspective to the movie.
Photography Aleksandar Tomovic @alekandsteph
Styling by Shira Eve Mandell for Maison Privée @maisonpriveepr_la
Grooming Joanna Faivre @joannafaivre.makeup
Production + Location BELLO Media Group X MP @bellomediagroup @maisonpriveepr_la
Special Thanx Platform PR @platformpr
