Brian Cox, the iconic star of Succession, has reached a breaking point. At nearly 80, the actor is done with diplomacy, launching a blistering critique of Hollywood’s biggest names—from Johnny Depp to Margot Robbie—in a no-holds-barred interview that signals a radical shift in his public persona.
For decades, Brian Cox has been a respected figure in film and television, earning acclaim for roles in Succession, Troy, and X2. But in a recent profile with The Times, timed to promote his directorial debut Glenrothan, Cox has shed all restraint. The Scottish actor, who turns 80 this year, delivered a series of scathing assessments of his peers, dismissing concerns from his wife and even fellow acting legend Daniel Day-Lewis with a defiant: “F–k it! I’m gonna say what I want to say.”
Johnny Depp: A Career-Defining Rejection
Cox’s most enduring target remains Johnny Depp. He revealed that he turned down the role of Governor Swann in the Pirates of the Caribbean franchise specifically to avoid working with Depp, whom he labeled “so overblown, so overrated.” The part ultimately went to Jonathan Pryce. This stance is not new for Cox, who has long been vocal about his disdain for Depp’s acting style, but his reiteration underscores a deep-seated conviction that has shaped his career choices.
Margot Robbie: Beauty Over Authenticity?
The freshest controversy centers on Margot Robbie‘s casting as Catherine Earnshaw in Emerald Fennell’s upcoming Wuthering Heights. Cox mocked the decision with a sarcastic impersonation of Robbie’s Australian accent, quipping, “‘Keith Cliff! It’s me, Cathy! How ya doing, Keith? Awright?'” He argued that Robbie is “far too beautiful” for the role, suggesting a “Gypsy” quality was needed, though he conceded, “it may be a brilliant film.” Notably, Cox admitted he hasn’t seen the film yet, highlighting the speculative nature of his critique.
A Buffet of Grievances: Norton, Spacey, McKellen, and Beyond
Cox’s criticisms extend far beyond two targets. He called Edward Norton, his co-star in Spike Lee’s 25th Hour, “a pain in the arse,” adding that Norton “fancies himself as a writer-director.” He described Kevin Spacey as “a stupid, stupid man” and claimed Ian McKellen‘s performances are “not to my taste.” Even directors and playwrights are not spared: Quentin Tarantino is “meretricious,” Gary Oldman‘s Oscar-winning Churchill in Darkest Hour is “cobblers” and “a crowd-pleasing farrago,” while Michael Caton-Jones is “a complete arsehole” and David Hare is dismissed in unprintable terms.
Method Acting and Daniel Day-Lewis: No Reconciliation
Cox’s ongoing critique of method acting—including remarks about Succession co-star Jeremy Strong—reportedly irked Daniel Day-Lewis, who advised Cox to step off his “soapbox.” Cox’s response was icy: “No, I haven’t reached out because it’s got nothing to do with Dan Day-Lewis.” This refusal to engage highlights Cox’s commitment to his unfiltered ethos, even when challenged by one of acting’s most revered figures.
Why This Matters: Age, Authority, and Hollywood’s Culture
Cox’s tirade is more than just celebrity gossip; it reflects a broader cultural moment. At an age when many peers soften their public personas, Cox’s defiance is a statement on artistic integrity and generational shift. His willingness to criticize icons like Depp and Tarantino challenges Hollywood’s unspoken codes of loyalty. Moreover, his directorial debut with Glenrothan adds weight—this is not a retiree ranting but a filmmaker asserting his vision. The interview, as reported by The Times, captures a man leveraging his lifetime of credibility to speak without filter, forcing a conversation about honesty in an industry built on image.
For fans of Succession, Cox’s comments may fuel speculation about the show’s legacy and potential reunions, but his focus is squarely on his own artistic journey. His critique of method acting, for instance, indirectly comments on the very intensity that defined Logan Roy, suggesting a philosophical rift within the acting community.
Ultimately, Brian Cox’s hit list is a manifesto of sorts. It underscores a freedom that comes with age and accomplishment, where the cost of candor is no longer a concern. Whether Hollywood appreciates this raw transparency is, as Cox might say, no longer his problem.
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