I Didn’t Go Anywhere

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At the 2010 Academy Awards afterparty, where “The Hurt Locker” had won best picture, I found myself enjoying a festive atmosphere, particularly as I was part of it all. During the event, I found myself conversing with Cameron Diaz. As a platter of miniature burgers passed by, we decided to create a bit of mischief. “Cameron playfully gave the impression of taking a bite from my burger,” I remember, “and I responded with a goofy expression.” Apparently, this moment was captured and later published in one of the industry trade publications.

Approximately a week had passed, and Pearce found himself in his agent’s office, curious about leveraging his role in an Oscar-winning film. “I asked, ‘What significance does that hold in Hollywood, given how these things typically unfold?'” Pearce recalls his agent pulling out a trade magazine and responding, “There’s less value in the award than in this photograph.”

Pearce chuckles at the recollection, as it symbolizes one of Hollywood’s paradoxes – artists crave recognition, but often prefer it to be for something other than an Academy Award. Despite this, Pearce has had a celebrated career marked by masterpieces such as “L.A. Confidential” and Christopher Nolan’s “Memento,” back-to-back best picture winners “The Hurt Locker” and “The King’s Speech,” box office hits like “Iron Man III” and Adam Sandler’s “Bedtime Stories.” He also won an Emmy for his performance in HBO’s “Mildred Pierce” and was the central figure in a beloved cult classic, “The Adventures of Priscilla, Queen of the Desert.

However, he’s had his fair share of missteps in his career. He openly admits that some of his films, such as those made during his “divorce phase,” were disappointments to him. Regarding the film “Factory Girl,” he acknowledges that while he was praised for his portrayal of Andy Warhol, the movie itself was criticized as being the worst Andy Warhol film with the best Andy Warhol performance. Pearce maintains a balanced perspective about his standing in Hollywood, jokingly wondering if Paul Bettany had dropped out of a role. Pearce humorously shares this anecdote, stating “I can laugh about it and maintain a healthy cynicism because I’ve had a fulfilling career.”

Pearce was not a spontaneous choice for Brady Corbet, the director of “The Brutalist,” a grand film about the price of the American Dream that has earned Pearce his first Academy Award nomination in the best supporting actor category. Corbet was searching for an actor who could embody a character reminiscent of a Rockefeller or Barnes, and he was captivated by Pearce’s performance in “Mildred Pierce,” where he successfully portrayed a mid-Century dialect and rhythm that brought to mind Joseph Cotten and James Mason. Corbet remarks, “It’s quite challenging for most contemporary actors to achieve this as it demands a high level of dedication to the style of the performance.”

In the 1950s, there was a particular flair that needed to be carefully managed, explains Corbet. “Guy is truly one of the best actors I’ve ever worked with, and I’m not exaggerating,” he asserts. “There are certain performers I’ve collaborated with who I think are movie stars for a reason. They’re like expert marksmen — they never miss a beat or a syllable.

People seem surprised to discover that “The Brutalist” is your first Oscar nomination. Does this make you feel complimented that they assume you’ve already been recognized, or does it raise questions about the quality of your previous work? I’d say I prefer being the person people think should have won something rather than being asked, “How did you win an award for that?” I’ll take either interpretation.

As a film enthusiast, I’ve been fortunate enough to be a part of numerous groundbreaking movies. However, some of my films didn’t receive the recognition they deserved during their initial release. If I were to choose one that I wish had garnered more attention, it would be “Death Defying Acts,” where I portrayed Houdini. Directed by Gillian Armstrong, this film features stellar performances from Saoirse Ronan and Catherine Zeta-Jones. Unfortunately, the distribution of this movie was mishandled, leading to limited release in cinemas without proper marketing. The director herself was taken aback when she informed me about its release, expressing her disbelief at how it had been handled.

It’s fascinating to see how the success or failure of a film often hinges on its promotion and marketing. This is something I’ve come to appreciate over time, especially after facing situations like “Death Defying Acts.” On the other hand, my recent work in “The Brutalist” has brought me back into the limelight, with many people expressing their excitement about my return. However, I was never really gone; what they mean is that I’m now doing more publicity for the film. A movie’s fate can indeed be decided by how well it’s marketed and promoted among the hundreds produced each year.

Interestingly, “Death Defying Acts” came out during a time when magicians were trending in films, following the release of “The Illusionist” and “The Prestige.” In fact, Christopher Nolan had initially considered me and Jude Law for roles in “The Prestige,” but he went on to make another film with Christian Bale and Hugh Jackman instead. When I told Jude about this, he joked, “He’s doing it with Batman and Wolverine! What happened to us?

Hold on, which characters did Chris want us to portray in “The Prestige”?
Frankly, I’m not sure if we ever reached that point. It was merely a role Chris expressed interest in me reading. Unfortunately, our professional relationship never continued due to an executive at Warner Brothers who wasn’t fond of me, which could have been a factor. Nevertheless, I admire the movie greatly.

To me, that tale about Christopher Nolan’s casting choices back then strikes me as surprising, given that he now has the freedom to select anyone. However, I was merely informed about this incident long ago by my agent, Chris Andrews. Unfortunately, the name of the executive involved escapes me, but he flatly refused Pearce, saying something along the lines of “I just don’t see Guy Pearce fitting in. I won’t be using him. It’s not going to happen.” I can understand his perspective, and it was actually enlightening to learn about it. Honestly, I’m quite content knowing this, as I still managed to work with Christopher Nolan on a decent film.

Did anyone ever contact you about remaking “Memento” in the past? No, not me. Occasionally, such rumors surface, but one wonders if they are truly valid. There were discussions about a sequel to “L.A. Confidential,” but unfortunately, Curtis [Hanson] fell ill and passed away. And there was talk of adapting another James Ellroy novel where my character, Ed Exley, featured prominently, and I was asked if I would be interested in reprising the role, but I chose to move on from it.

I often wonder what became of Ed Exley. Perhaps he’s chief of police or even president now. Damien Lewis and I have come up with some whimsical podcast ideas, such as speculating about our characters’ current lives. I find the concept intriguing.

Where is Leonard Shelby now? Is he still at that hotel, hunting down John Gs? Indeed, he continues on his journey.

“The Brutalist” seems like a risky venture – an extended period piece over three hours with complex characters. Are you taken aback by the positive response it’s receiving, or did you sense that it was something extraordinary? I believe it might be even better than I had anticipated. This could be due to my admiration for Daniel Blumberg’s score. I had read the script and observed the art direction and acting, but I didn’t know what the music would be like until I saw the film, and it moved me deeply.

You hadn’t seen Brady’s previous films when he approached you about “The Brutalist,” correct? That is correct. I read the script and was initially apprehensive about it. When I spoke to the director, I felt I needed to be at my best. Then I watched his earlier movies, and I was genuinely impressed. His films created unique worlds, and I found myself drawn to them both as an audience member and an actor. The same holds true for Christopher Nolan, as well. I read the script for “Memento,” then saw his film “Following,” and was astounded. I even got worried that Brad Pitt might steal my role!

It’s interesting you mention that because it’s said that Pitt was once attached to “Memento.” I know Nolan has stated that Pitt’s interest likely helped the film get made. It is possible there is a connection, which is why it stuck in my mind. They may have offered it to him – I’m certain they did offer it to some of the top-tier actors. If they couldn’t land one of the big names, then those who had auditioned would step up and say, “I’ll do it! I’m more affordable!

Meeting Brady was an enchanting experience. What struck me most was how unassuming and kind he seemed, despite his intellect being so vast and the profound themes he tackles.
In your portrayal of Van Buren, you manage to create a complex character. Was it difficult to balance his negative actions with his humanity?
To truly bring a character to life, one must delve into their flaws and virtues, their struggles and triumphs. With Brady’s insightful guidance, I came to understand the insecurity that lies at Van Buren’s core. He envies László’s confidence and self-assuredness, which he lacks. If László had been more compliant, perhaps Van Buren would have treated him better. The undercurrent of power struggle and sexual tension between them was crucial to the character development.
I must clarify that I’m not excusing Van Buren’s reprehensible actions, but your portrayal humanizes him.

Indeed, it’s not false modesty when I say that working with Adrien was an extraordinary experience. He brought the essence needed for our complex scenes together flawlessly. To be candid, I found myself quite awestruck by him, which mirrors Van Buren’s character well. As an actor, I often found myself muttering under my breath, “Wow.” And as for your second point, it is true that I’ve been fortunate enough to contribute to some remarkable productions.

I’m incredibly appreciative and overjoyed about being a part of all this, and I never forget to be thankful. I’m always striving to improve and discover the elements that initially sparked my passion for this in my childhood days. Working here feels like a dream, as it allows me to tap into the creativity within us all. Truly, I feel blessed to have been involved in so many fantastic projects.
I’m hoping for the opportunity to work with Christopher Nolan once more — maybe he could direct this romantic comedy starring you, Cameron Diaz, and the hamburgers! Let’s create something unexpected!
That’s the plan!

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2025-02-06 19:22