Guy Pearce never chased Hollywood. His power patron in ‘The Brutalist’ is the best revenge

In pondering the life and career of Guy Pearce, I find myself captivated by the man’s unwavering commitment to staying true to himself amidst the whirlwind of Hollywood. Born Down Under, this versatile actor has traversed continents, honing his craft while maintaining a comfortable remove from the glitz and glamour that often comes with stardom.

On a recent day in Los Angeles, Guy Pearce strolled to his press event. Remarkably, the hotel hosting the interviews was merely a short distance from the LA condo he purchased during the filming of “Memento” in 1999 and has kept ever since. At the end of the day, he would return home on foot.

There is something candid and unpretentious about Pearce, including how he talks about his profession.

Pearce, 57, expressed, “I think I’d like to understand it better, if you will,” as we chatted over coffee at a corner table in the hotel restaurant, with the city’s hillside stretching out beautifully behind us. “Life can be amusing since it’s constantly under scrutiny, and we’re all involved in this shared evaluation. You’re questioning me about myself, while I’m trying to make sense of myself, and it’s all on display for the public.

He mentions that he’s becoming increasingly gentle with himself over time. Previously, he experienced tougher, more turbulent periods and was often irritable about many things, but nowadays, he finds life quite pleasant.

During his brief breaks between his two strolls, Pearce would typically discuss his latest movie, “The Brutalist,” which has been garnering fantastic reviews and enthusiastic reactions since it debuted without a distributor at the Venice Film Festival. Now, under the wing of emerging awards heavyweight A24, the film is attracting considerable interest ahead of its limited release on Friday, with some special 70mm screenings already taking place.

Pearce is a character actor who often blends seamlessly into his roles, making him easy to miss amidst the crowd. Kicking off his career as a child performer in Australia, he gained fame Down Under at a young age on the TV soap opera “Neighbours,” where stars like Kylie Minogue, Margot Robbie, and Russell Crowe also got their start. His performances in movies such as “The Adventures of Priscilla, Queen of the Desert,” “L.A. Confidential,” and “Memento” quickly made him recognizable to audiences not just in Australia, but also in America.

He accumulated a wide range of roles, including parts in Academy Award-winning films like “The Hurt Locker” and “The King’s Speech”, a villain in the blockbuster superhero film “Iron Man 3”, and an Emmy award for his performance as Kate Winslet’s character opposite her in the miniseries “Mildred Pierce.

Kate Winslet stated to The Times via email, ‘He never does things halfway.’ He’s entirely dedicated, fully backing each cast member, and he avoids making a scene. Instead, he calmly performs his tasks, only to leave everyone in awe with his exceptional performances every single time.

However, while Pearce’s work might be perceived as that of a humble artisan, his role in “The Brutalist” could arguably be his magnum opus, as it skillfully weaves together threads from across his professional journey. In this film, Pearce breathes life into the complex character of Harrison Lee Van Buren, an industrialist from Pennsylvania. This portrayal offers a profound exploration of a man who is at once generous and ruthless, curious yet guarded, eventually revealing a capacity for real wickedness. (This performance has already garnered Pearce nominations from various award-giving bodies.)

In post-World War II America, “The Brutalist” is a story that unfolds with the character Van Buren recruiting immigrant architect László Tóth (played by Adrien Brody). His task: constructing an imposing institute – featuring a chapel among other elements – as a commemoration for Van Buren’s deceased mother. As time passes, and the project stretches over several years, what initially appeared to be patronage morphs into exploitation, with Van Buren increasingly appropriating resources from Tóth.

One way to rephrase the given sentence could be: A common trait in many of Pearce’s finest performances is his knack for portraying characters that struggle with self-understanding, roles where there exists a gap between their perceived personas and their true selves.

Pearce explains, “More often than not, we do it unknowingly,” he leans forward, clearly immersed in the relationship between his characters and real life. “We strive to be more intelligent, witty, and self-assured than we truly are. However, these attempts deviate from who we genuinely are when we’re alone at home.

Delving deeper into this concept, I enthusiastically add, “That gap or disconnect is prevalent everywhere, but what makes movies so fascinating is that they offer a platform to explore and portray it.

In a collaborative effort with the director, Adrien Brody, Kieran Culkin, Colman Domingo, Peter Sarsgaard, Sebastian Stan, and Jeremy Strong immerse themselves in their respective roles, delivering honest performances on screen.

Dec. 10, 2024

Filmed in the less frequently used VistaVision widescreen format, “The Brutalist,” a passion project for its director-co-writer Brady Corbet, was created at an estimated cost of $10 million over a mere 33 days of production. This brief timeline, considering the grandeur and vastness of the film, leaves one amazed by the apparent audacity and expansive nature of the project.

Pearce expressed that he found himself trying to understand a situation that seemed unhurried to him. He suggested if you ask Brady, he might admit being under pressure, but it didn’t appear that way in his view. Despite the intensity Brady carries, he comes across as calm and relaxed on set, making it seem like there’s less pressure than there may actually be.

Pearce compares his reaction to reading the script to discovering Christopher Nolan’s “Memento” for the first time, realizing that this less-known director was on the verge of creating something truly extraordinary. After watching Corbet’s previous independent films “The Childhood of a Leader” and “Vox Lux,” Pearce recalls questioning, “What’s his unique style? It’s unlike anything else. It’s quite unusual and unsettling. I was immediately captivated by him… The script is exceptional. And this role is intricate with many layers, offering a wealth of opportunities for me as an actor to delve into and relish.” Thus, the project was an enticing opportunity.

Pearce emphasizes that the film is deeply emotional for him, making it his top priority. He finds pleasure in watching intelligent movies, but if they leave him feeling detached, then he feels detached. However, this movie seems to tug at one’s heartstrings and feels like America confronting you directly.

36-year-old Corbet, speaking from New York via Zoom, referred to Van Buren’s character as a “strong antagonist.” He mentioned that the role reminded him of Pearce for its ability to portray an era of resilient actors like James Mason and Joseph Cotten, similar to the one seen in “Mildred Pierce.

Corbet remarks about Pearce, “He embodies the composure of a man in his 50s, yet retains the vigor and charm of a younger man.” Initially, there was a thought to make him appear older with hair and makeup adjustments. However, Corbet suggests, “I think it’s more appropriate that [Van Buren] should seem healthy, tanned, and prosperous. He should symbolize a thriving interpretation of the American dream and the American ideal.

The character is partly modeled after Albert C. Barnes, a Pennsylvania chemist-turned-entrepreneur and art collector, as well as Andrew Carnegie and the Rockefeller family. However, Pearce chose not to delve deeply into historical research for the role, believing he already possessed all the necessary elements.

Pearce stated, “It was evident to me from the script who this man’s character was in terms of his personality and vitality. I assume Brady has thoroughly researched the Rockefellers, Barnes, and various others. He may have shared some of these individuals with me, but I didn’t feel compelled to delve deeper into their backgrounds to grasp the situation. I just read it, and I could have begun filming the next day, honestly.

On several occasions throughout the movie Van Buren describes discussions as “intellectually engaging,” suggesting that while he may not fully grasp what’s being said, his intelligence allows him to realize its significance. This feeling of longing and insecurity was something Pearce recognized often, which he likens to the character Salieri in “Amadeus” – possessing enough talent to recognize true genius but not quite measuring up to it.

As a fellow movie enthusiast, I can’t help but acknowledge a similar trait within me. When I observe exceptional actors or artists, musicians included, there’s an undeniable spark that catches my eye. It’s almost as if I can sense it from a mile away. And honestly, it leaves me green with envy, knowing I don’t possess the same gift they do.

According to Corbet, one of the fantastic aspects of Guy is his ability not to overemphasize the beats. Instead, the piece could have been played in a major key rather than a minor one. He has exceptional instincts, and his performance aligns well with what I envisioned. Remarkably, he didn’t require much guidance to achieve this effect.

As the central relationship in the movie progresses into one of psychological distress, Van Buren performs a shocking act of violence towards Tóth. Although signs of his behavior can be seen throughout the film, the harshness of Van Buren’s actions left Pearce feeling uneasy.

Whenever I conversed with Brady, I found myself saying something like, “Let’s revisit that scene,” Pearce reminisces. This is because it was unexpected, making it all the more unsettling. There are many aspects of it that are utterly shocking. It serves as a powerful critique on the depths to which humans will go to stay afloat, to feel self-empowered.

In a similar vein, Corbet finds this instance reminiscent of Albert Camus’ novel “The Stranger,” where a character meticulously outlines the circumstances leading up to his cold-blooded murder. Similarly, John Huston’s character Noah Cross from “Chinatown” expresses that under the right conditions, people can be capable of anything extraordinary.

In Van Buren’s unpredictable manner, Pearce frequently found himself expressing several feelings simultaneously. Corbet remembered filming the scene where Van Buren guides a crowd of partygoers to an hillside vista, which later served as his institute’s location. In this scene, Van Buren delivers a lengthy speech that is both self-deprecating and self-promoting. Here, he presents his idea for the project and successfully pulls Tóth into it.

Corbet and his cameraman, Lol Crawley, aimed to film the scene as the sunset was ending, with only the briefest remnants of daylight left. Unforeseen difficulties delayed production, costing them 10 minutes from a planned 30-minute window for capturing this moment. The clock was ticking for Pearce to flawlessly recite extensive dialogue before the impactful light effect vanished.

According to Corbet, if Guy hadn’t been so well-prepared, we might never have finished that part. It’s hard to say what we could have done instead. Perhaps we would have needed to reshoot it or rethink the scene entirely. But thanks to Guy’s professionalism, I didn’t have to alter my vision for the sequence.

Pearce tends to shy away from such flattery, as he’s consistently kept a certain distance from the glamour and celebrity culture of Hollywood throughout his professional journey.

He expresses that he desired to manage Hollywood according to his preferences. Many might argue that his career suffered because he declined the opportunity to star in big superhero films, a move they believe he should have made. However, he clarifies that he had no interest in doing so. If a suitable job offer came from America, he would gladly accept it. In case he wasn’t getting work in America, he would simply stay at home in Australia and seek opportunities there instead.

Lately, Pearce decided to sell the house in Melbourne that he had owned for close to 30 years, so he could move more permanently to the Netherlands, where his son, born in 2016 with Dutch actress Carice van Houten, resides. The house he sold was the same one you saw him in during virtual interviews during the pandemic era, filled with various guitars and keyboards for music recording – a space that is now left behind.

Pearce expresses a feeling of soft amazement, “I’m establishing a fresh start in Holland,” he says. “We’re caring for our young son and striving to be the best parents we can be.

Between approximately 2002 and 2003, Pearce temporarily stepped away from acting. During this time, a journalist during a series of brief interviews labeled acting as similar to lying, which left Pearce contemplating life’s deeper questions. This became a personal dilemma he had to confront.

Pearce expresses, “That question made me wonder: Is there value in acting? I needed to find my own answers about its legitimacy.” He continues, “To immediately assume that because I’m an actor, I must be a liar, is foolish. So, if I could speak to the person who asked me that initially, I would tell them I have found my answer at last.

In whatever location that unidentified journalist happens to reside, Guy Pearce extends an invitation for a conversation. And as “The Brutalist,” a role that has garnered him more recognition than any other in recent times, playing a character grappling with the truth about himself might just be his response.

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2024-12-19 14:36