Colin Farrell has "heard" Penguin is in the next Batman, but he hasn't read the script

Farrell recently said that by the end of the suit he was thinking, “I never want to put that fucking suit and that fucking head on again,” but speaking with Cagle he softened his stance somewhat. The show itself was partly inspired by how remarkable he found the physical transformation, he claims. It made him feel like “a canvas,” and part of a lineage of practical effects artists that he grew up watching and admiring. He cites Rick Baker’s work in “Thriller,” Dick Smith’s work in the original Planet Of The Apes, and Rob Bottin’s work in The Thing as examples. 

“[People] have asked me, you know, ‘It must have been a nightmare being in the makeup for three hours.’ It was never a nightmare. I mean, by two hours, 53 minutes, they could see me fingers tapping my knee and they were like, ‘We’re nearly there.’ You know, by the end of the three hours you’d get a little bit squirrelly, but that’s just a little bit squirrelly,” he says. “I didn’t dread any day sitting in the makeup chair because I was in love with the makeup. I just thought what Mike Marino designed and what his team of extraordinary makeup artists applied every day was so beautiful and had such a sense of history and placement.” 

Farrell acknowledges the challenges of that much costuming and prosthetics—they had to set up an industrial-strength air-conditioned tent for him to cool off in between takes—but “I loved it. I know there’s quotes of me saying I was over it by the end. Sure,” he admits, but that had “as much to do with the darkness of the material” as it did with his costume and makeup. Overall, he sees that feeling as a natural part of the process for any project. “It was the same with [The Banshees Of Inisherin], the same with every job I’ve done. By the time you reach the end of a gig, you should be wrecked. You should be wrecked.”