Guy Pearce was in a celebratory mood at an afterparty for the 2010 Academy Awards, having appeared in that year’s best picture winner, “The Hurt Locker.” He was chatting with Cameron Diaz when a plate of mini hamburgers passed by, and they decided to have some fun. “Cameron pretended to sort of bite my burger and I pulled a silly face,” he recalls. “And they stuck this photo in one of the trades.”
About a week later, Pearce was in his agent’s office and inquired if being in the Oscar-winning picture was something to capitalize on. “I asked, ‘What does that mean in the scheme of Hollywood, in how these things work?’” Pearce says his agent pulled out the trade magazine and replied, “Not as much value as there is in this photograph.”
Pearce laughs at the memory, as it encapsulates one of the contradictions of a town in which artists appreciate recognition, though often would prefer if it was celebrating something else. Make no mistake, the actor has enjoyed a celebrated career that includes masterpieces (“L.A. Confidential” and Christopher Nolan’s “Memento”), back-to-back best picture winners (“The Hurt Locker,” “The King’s Speech”) and box office hits (“Iron Man III,” Adam Sandler’s “Bedtime Stories.”) He enjoyed an Emmy-winning turn in HBO’s “Mildred Pierce” and was at the center of a beloved cult classic with “The Adventures of Priscilla, Queen of the Desert.”
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But he’s had his share of misfires. He refers to one film made in “my divorce movies period” as a disappointment and notes of the film “Factory Girl” that people have called him “the best Andy Warhol ever in the worst Andy Warhol movie.” Pearce keeps a healthy ego in check about his place in the Hollywood food chain. “Sometimes you get a call, and they say, ‘You are absolutely the person we’ve always wanted. We start in three weeks!’ And I’m like, ‘Did Paul Bettany pull out?’” Pearce reveals. “But I can laugh about it and have a healthy cynicism about it because I’ve had a lovely career.”
He was certainly not a last-minute thought for Brady Corbet, the director of “The Brutalist,” the sweeping epic about the cost of the American Dream that has landed Pearce his first nomination for an Academy Award in the best supporting actor category. The filmmaker was looking to cast the role of Harrison Lee Van Buren, the wealthy and mercurial client of architect László Tóth, a Holocaust survivor played by Adrien Brody. Corbet wanted an actor who could embody “a Rockefeller or Barnes type,” and was particularly impressed by Pearce’s work in “Mildred Pierce” in which he pulled off a mid-Century dialect and cadence that evoked memories of Joseph Cotton and James Mason. “It’s very difficult for most contemporary actors to pull [that] off as it requires a level of commitment to the style of the performance,” says Corbet. “In the 1950s, there was a certain level of largesse that has to be properly calibrated.”
Corbet doesn’t withhold his admiration for Pearce. “Guy is really one of the best actors I’ve ever worked with, and that’s not hyperbole,” he states. “There are certain performers I’ve worked with where I go, ‘Oh, you guys are movie stars for a reason.’ They’re like assassins — they never fumble a word or a syllable.”
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A lot of people are surprised to learn “The Brutalist” is your first Oscar nomination. Do you take it as a compliment that they assume you’ve been feted before?
I suppose I’m happy to be the guy that people go, “You should have won something” as opposed to “How did you get an award for that?” I’ll take it.
You’ve been a part of so many iconic films but many of your movies haven’t been appreciated in their time. Is there one that you wish had been more widely seen?
“Death Defying Acts,” where I played Houdini, was special to me. Gillian Armstrong is an amazing filmmaker and Saoirse Ronan and Catherine Zeta-Jones are wonderful in it. Basically, Harvey [Weinstein] got a hold of it and didn’t like it. He stuck it in one cinema in New York without telling any of us to qualify for awards and did no marketing. Gillian called me and said, “Did you know the movie is out in a cinema?” I went, “No, is it?” She went, “I fucking can’t believe he’s done this.”
It makes you appreciate good marketing.
It’s funny because with “The Brutalist,” a lot of people are saying to me, “You’re back!” And I’m like, “I didn’t go anywhere.” But I suppose what they mean is I’m back doing lots of publicity. A film can live or die on its marketing and promotion where hundreds of movies are made. So, I’m really happy that this film is being appreciated.
“Death Defying Acts” also came out right after the year of “The Illusionist” and “The Prestige,” when magicians were a hot commodity.
The funny thing is, Chris [Nolan] had spoken to Jude Law and I about doing “The Prestige” at one point. He went and made another movie and came back to it with Christian Bale and Hugh Jackman. Jude made a funny comment, he said, “He’s doing it with Batman and Wolverine! What happened to us?”
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Wait, who was going to play who in “The Prestige”?
Oh, I don’t know if it ever really got that far. It was just something Chris was interested in having me read. I’ve already spoken about why I never got to work with Chris Nolan again, because of this particular executive at Warner Brothers who wasn’t a fan of mine. So that might have been part of it. Regardless, I love the film.
That story of is wild to me especially as I would think Christopher Nolan could now cast whoever he wants.
Well, sure, this was years ago. And I only know it because my agent, Chris Andrews, told me. I forget the executive’s name, but he just went, “Sorry, I don’t get Guy Pearce. I’m never going to employ Guy Pearce. It’s just not going to happen.” And I totally get it. It was good to actually find out. Honestly, I’m really glad to know. And it’s OK; I got to do a pretty good film with Chris Nolan.
There was talk years ago of remaking “Memento.” Did anyone ever reach out to you?
No, no. You hear those things every now and then and go, “Is that really true?” There was talk at one time of a sequel to “L.A. Confidential” but Curtis [Hanson] got sick and passed away. And I think there was talk of adapting another James Ellroy novel and my character, Ed Exley, appeared in that, and I was asked if I might be interested in playing the role in that. But I was good leaving it as it was.
I wonder what Ed Exley is up to now. He’s probably chief of police. Or president.
Damien Lewis and I have made up silly, daft podcast ideas like bitching about all the roles we didn’t get. And one was talking about where your characters are now. I love the idea.
Where’s Leonard Shelby? Is he still at that hotel, killing John Gs?
That’s right, he’s still going.
“The Brutalist” feels like a gamble — an epic period piece over three hours with challenging characters. Are you surprised by how warmly it’s being received, or did you know you had something special?
I think it’s probably better than I even thought it was going to be. That could be because I’m in awe of Daniel Blumberg’s score. I read the movie. I was there to see the art direction and the performances, but I didn’t know what the music would be until I saw the film, and it undoes me completely.
You hadn’t seen Brady’s previous films when he approached you about “The Brutalist,” correct?
No. I read the script, and I was quite intimidated by it. I was going to talk to the director and thought I had to be really on my game. Then I saw his previous movies and I literally went, “Whoa.” I realized he created these unconventional worlds, and I was excited by his films as an audience member, as well as an actor. It was the same with Chris Nolan, actually. I read the script for “Memento” then saw his film “Following” and went, “This is incredible. Now I’m really nervous that Brad Pitt’s going to steal the role.”
It’s funny you mention that because rumor has it that Pitt was attached to “Memento” at one time. I know Christopher Nolan has said his interest probably helped it get made.
I do feel like there’s some connection, that’s why I had it in my head. They might have offered it to him – I’m sure they did offer it to him. They offered it to, you know, the top five guys. And then if they can’t get one of the big guys, the ones who have auditioned come through and go, “I’ll do it! I’m cheaper!”
You were so intimidated. What was it like when you actually met Brady?
I was surprised at how easy and lovely he is. He’s clearly smart and explores these big themes, but he’s not precious about it. Maybe because he was an actor himself, he has such compassion for actors. If I ever needed more time or another take, I could have it. He’s brilliant enough to have a vision but wise enough to leave room for magic to occur.
I don’t mean to exonerate Van Buren of his horrible actions, but you do portray him as a complex human being. Was that challenging?
Ultimately, every person has their story; they have their foibles and their strengths and their weaknesses and if all of that is explored and realized well in a script, my job is done. I had many chats with Brady about the insecurity that sits at the heart of Van Buren. There’s László Tóth, who has this great skill and artistry that Van Buren doesn’t have. Aside from that, I think he’s also envious of László’s sense of self. Had László been a guy who would acquiesce more, be the grateful creature that Van Buren needs, he might have taken care of him better. I think that really got under his skin. Obviously, there’s a sexual element there which needs to be there, but that sense of needing to have power over him.
What was it like sharing those intense scenes with Adrien?
Adrien’s an exquisite actor and gave me everything I needed to play that dynamic between these two people. I was quite intimidated by him, to be honest, which I suppose is good because Van Buren is intimidated. As an actor, I was standing in front of this guy just going, “Jesus.”
You were being self-deprecating earlier about filling in for Paul Bettany, but you have to acknowledge you’ve been a part of several masterpieces now.
I’m beyond happy and grateful for what I’ve gotten to be a part of, and I never take it for granted. I’m always just trying to get better and to find the sort of things that made me want to do this when I was a kid. It’s a wonderful job to enjoy the playfulness within our own imaginations. I’m so lucky; I’ve been a part of so many great things.
I’m still rooting for you to reteam with Christopher Nolan — perhaps he can direct this rom-com with you and Cameron Diaz and the hamburgers.
That’s it! Let’s surprise everyone.