Tony Award for lead actor in a play, 'The Real Thing' by Tom Stoppard. [June 2000]
He is the son of Bridget M. (Curwen) and John B. Dillane, a surgeon. His father was Australian and his mother English.
Other awards for his stage performance in 'The Real Thing' include Evening Standard Award (London): Best Actor 1999; Variety Club Show Business Awards (London): Best Stage Actor 2000; Drama Desk Award (Broadway): Outstanding Actor in a Play 2000.
Theatrical training: Bristol Old Vic Theatre School.
Pre-drama school: reporter for 'Croydon Advertiser' for three years.
Education: University of Exeter (history and politics).
He was nominated for a Laurence Olivier Theatre Award in 2000 (1999 season) for Best Actor for his performance in 'The Real Thing' at the Donmar Warehouse and at the Albery Theatre.
He was awarded the 1999 London Evening Standard Theatre Award for Best Actor for his performance in 'The Real Thing' at the Donmar Warehouse, London, England.
Was inspired to try acting after reading about how Sir Trevor Eve gave up a career in architecture to become an actor.
Did not start acting until he was in his mid-twenties.
Dillane is famous for portraying Stannis Baratheon in Game of Thrones (2011). After season 5 of the series, he said in an interview that he did not enjoy the show, and took the job only due to the money. Many fans of the show, however, interpreted this sentiment as a perfectly "Stannis thing to do," because Dillane's character, Stannis, gets involved in the wars and politics shown in the Game of Thrones despite not enjoying them.
If you feel uncomfortable on stage, you can very easily descend into a sort of abyss, convinced you're the worst actor ever, that you're a disgrace to the profession, that you're a disgrace to yourself. It's an awful feeling.
Am I melancholy? I certainly have moments. I like to think there's a capacity for joy as well.
I have to phrase this perfectly: I'm just not convinced that the attention we give to creating what we think of as a character isn't actually quite often the means by which an actor overcomes his own terror of standing there onstage and creating a mask to hide behind.
I couldn't work my way into being a good-looking guy.