Age: 62
male
Timothy Blake Nelson (born May 11, 1964) is an American actor and playwright. Described as a "modern character actor, his roles include Delmar O'Donnell in O Brother, Where Art Thou? (2000), Gideon in Minority Report (2002), Doctor Steve Pendanski in Holes (2003), Doctor Jonathan Jacobo in Scooby-Doo 2: Monsters Unleashed (2004), Danny Dalton Jr. in Syriana (2005), Samuel Sterns in the Marvel Cinematic Universe, Richard Schell in Lincoln (2012), the titular character of The Ballad of Buster Scruggs (2018), and Henry McCarty in Old Henry (2021). He portrayed Wade Tillman / Looking Glass in the HBO limited series Watchmen (2019), for which he received a Critics' Choice Television Awards nomination for Best Supporting Actor in a Drama Series in 2020. Nelson's directorial credits include Eye of God (1997), which was nominated for the Sundance Grand Jury Prize and an Independent Spirit Award; O (2001), a modern-day adaptation of Othello; and the Holocaust drama The Grey Zone (2001). Eye of God and The Grey Zone were both adapted from Nelson's own plays. Nelson has also co-directed music videos for Billy Woods and Kenny Segal, including "Babylon by Bus" and "Soft Landing." He also co-directed the music video for Armand Hammer feat. Pink Siifu's "Trauma Mic." Nelson recently published his debut novel, City of Blows (2023), an epic group portrait of four men grappling for control of a script in a radically changing Hollywood. Description above from the Wikipedia article Tim Blake Nelson, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Tim Blake Nelson
The Joker
for The Joker in Batman: Death of the Family
Suggested by fernandomenegatti2
In an anachronistic Gotham suspended between the 1940s, the 1990s, and the present, Batman spirals into paranoia when the Joker vanishes for a year and is presumed dead. As grotesque murders plague the city and abandoned Ace Chemicals comes back to life in toxic green smoke, evidence suggests something far worse has returned. What follows is a nightmarish descent into psychological horror, as a more sadistic, almost supernatural Joker targets fear itself, dismantling the Batfamily one by one to shatter Bruce Wayne’s sanity. Blurring reality, myth, and madness, the film transforms The Death of the Family into a gothic noir terror story where love, obsession, and insanity become indistinguishable, and the final question is not whether Batman can stop the Joker, but whether he can survive him.
