Andrea Riseborough was born on November 20, 1981 in Newcastle upon Tyne, Northumberland, England as Andrea Louise Riseborough. She is an actress and producer, known for Birdman or (The Unexpected Virtue of Ignorance) (2014), Oblivion (2013) and Mandy (2018).

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Trivia

Is a former member of the National Youth Theatre. Appeared as Bone Girl in an amateur production of "Dog Days", which earned the 1999 Mike Figgis Award.
She was awarded the 2006 Ian Charleson Award which recognizes exceptional classical stage performances from actors under 30, for her performances in "Miss Julie" and "Measure for Measure".
Hailed by the Sunday Times magazine as one of Britain's finest Rising Stars along with Romola Garai, Matthew Goode, Hugh Dancy, Eddie Redmayne, Gemma Arterton, Hayley Atwell, Richard Coyle, Tom Sturridge, Rachel Hurd-Wood, Eliza Bennett, Daniel Mays and Kaya Scodelario (2009).
Named as one of European films' Shooting Stars by European Film Promotion (2011).
In a relationship with with Los Angeles based Street Artist Joe Appel known as Thrashbird since 2009.
Graduated from the Royal Academy of Dramatic Art (RADA) in London, England (2005).
Born in Wallsend, Newcastle upon Tyne and partly raised in Whitley Bay.
Attended and graduated from Newcastle upon Tyne Church High School in Jesmond, Newcastle upon Tyne.
Younger sister Laura Riseborough studied acting at the Royal Academy of Dramatic Art and East 15 Acting School.
A former contortionist, she is able to coil either leg up behind her head so that the calf is resting against the nape of her neck.
Childhood celebrity crush was actor Peter Sellers.
Daughter of George Riseborough and Isabel Johnson.
Heads her own all-female production company titled "Mother Sucker".
Her classmates at the Royal Academy of Dramatic Arts (RADA) included Tom Hiddleston and Andrew Buchan.
She is left-handed.

Personal Quotes 

I love my work and I love working hard. But I feel lucky every day that in this capitalist society in which we live, one can make one's living doing what one loves.
If I weren't an actress I'd like to be an author. Either that or the proprietor of a pool hall in Texas where I'd show cabaret with homosexual undertones.
[on working with Madonna in W.E. (2011)] She always said, "I'm here if you need anything from me", but she gave us a sense of freedom in regards to embodying the characters. When it came to shooting, she's a very visual, detailed director. She loves blocking things out. Before I walked on-set, she would choose my shoes and jewelery. It was her little ritual.
[on Edward, Duke of Windsor] I was fascinated by this detail in a documentary about Edward. When he and Wallis were living together, he would wait at the bottom of the stairs while she was dressing. After a certain amount of time, the butler would bring him a chair, and he would sit and wait. In a little more time, the butler would bring him a cigarette, and he'd sit there and smoke and wait. He'd wait and wait. Sometimes she would come down and they would leave. And sometimes he'd wait so long that he would end up in tears. There's something about that story that hit me in my heart.
I have lots of early film memories. I used to like watching black & white movies in the afternoon; I would sit kind of transfixed in front of the TV screen.
Initially when you get the script, you peruse the script. It was so simple with Brighton Rock (2010). The feeling, intuitively, was there. It's like reading a half of a whole, and you see the other half. That's not to say that you're destined to play every role you respond to like that, nor is it to say that you might find enough of them. But there are certain things, as an actress, that you're interested in exploring. I was really interested in exploring Rose. It was beautiful and hard and exciting and tragic and wonderful.
What I'd like to say is that I feel sad that, where female characters are involved, we constantly reduce the film... because you and I both know that if this were a film with two male leads, we wouldn't even be having a conversation about gender.
It's different working with every director because by a person's nature, their personality and who they are very much dictates the way that they approach their art, so it's always different. I so much enjoyed working with Madonna. She was so prepared and so passionate and truly innovative in her approach. It was wonderful.
Blockbusters and independent films re so similar. Surprisingly similar because we have 35 people or 350 people going crazy or with a different agenda, they're two things you're worrying about - time and money. You would think there would be more of those things on a bigger budget movie but there's not because you have seven times as many people. The other similarity is apart from the problems is the solution. If you work with a great director, and with great actors, the point is to always try to preserve that sacred space in which you remember why the hell you're doing it, and you create something great rather getting caught up in the hubbub and fail to achieve the emotional crux in the story.