Movies

Pierce Brosnan, a bad guy? In ‘MobLand,’ he finds joy in playing a brute

BBG News

Playing a ruthless crime boss fits Pierce Brosnan exceptionally well, as his portrayal of Conrad Harrigan in “MobLand” is rapidly gaining popularity among fans. Although Brosnan is typically associated with heroic characters such as James Bond, this gritty role is proving to be a refreshing change. The series, created by Ronan Bennett and Jez Butterworth, revolves around Conrad and his fixer Harry Da Souza (played by Tom Hardy). As the Harrigan family finds itself in the middle of a violent conflict with the rival Stevensons, the show has an irreverent, fast-paced tone that was set by Guy Ritchie during the first two episodes.

In a chat over Zoom from his Malibu residence, Brosnan expresses his delight after watching the initial five episodes, stating, “I simply couldn’t resist it.” So, without hesitation, he agreed to be part of the project. The decision was made effortlessly.

In the latest installment, following the funeral of Tommy Stevenson (Felix Edwards), a momentary truce among the clans unfolds, yet Helen Mirren’s cunning character Maeve subtly plots to sow discord behind Conrad’s back. Liam Brosnan praises the skillfully executed tension at the wake, commending both the script and the production. As a film enthusiast, I can’t help but appreciate the masterful storytelling.

He remarks, “The entire performance had a dramatic flair, reminiscent of a stage play.” Helen skillfully embodied Lady Macbeth, fittingly so. There were hints of Shakespearean style throughout. However, we were kept guessing as the scripts were received just before the final hour.

Brosnan is excitedly looking forward to the possibility of a second season for “MobLand” (still not officially confirmed), and he marvels at the fact that he’s been granted a significant role in it, so late in his acting career.

He’s found it fascinating to observe the effect it’s had on the viewers, he comments. “Ever since James Bond, people have recognized me, and that won’t change, which is alright,” he adds. “However, now it’s ‘MobLand.’ A while back, Sydney Pollack complimented me after a showing of ‘The Thomas Crown Affair.’ He said, ‘Well done. Cherish it. Such opportunities don’t come along frequently.’ I’ve had a career and have always found pleasure in my work. But occasionally, you receive a priceless gift like Conrad,” he concludes.

In this condensed and streamlined discussion, Brosnan talks about creating the character Conrad, diving back into the espionage realm for the Steven Soderbergh movie “The Black Bag”, and what continues to excite him about acting.

What did you initially find attractive about Conrad as a character?

As a cinephile captivated by the world of gangsters, I found myself drawn to a script that, at first glance, wasn’t quite the Conrad we know today. Yet, the narrative and family dynamics were appealing, and it had depth – meaty elements that kept me engaged. When Jez Butterworth joined the project, it underwent a remarkable transformation into something truly spectacular. The characters came together seamlessly, creating a fascinating tapestry. As Conrad’s character began to take shape under Jez’s pen, he evolved into an outlandish figure that added layers of complexity and excitement to the storyline.

Was he written as Irish?

During our initial shooting day with Tom, an unexpected request came from Guy: “Go Irish.” Despite my usual North or South London accent, I needed to adopt an Irish one quickly. I contacted my dialect coach, Brendan Gunn, who I’ve collaborated with numerous times before. I asked him for a Kerry accent within 15 minutes. He provided me with a model for the voice – a politician from Kerry – and I embraced the challenge wholeheartedly. My own Irish accent is barely recognizable due to my English and Californian background. I desired a robust, powerful accent that could deliver impactful words forcefully.

Were you familiar with Guy Ritchie’s improvisational style before this show?

In simpler terms, I’ve learned that he works spontaneously, yet expects preparedness for any performance. My educators always emphasized self-direction, so being ready and knowing your role is crucial. His approach is flexible, but he has a clear vision and provides ample room for creativity. In particular, he granted me significant creative freedom in developing the character of Conrad, demonstrating immense trust in my abilities.

Television

In “The Gentlemen,” inspired by Guy Ritchie’s movie of the same title, Theo James portrays a British nobleman finding out that his family’s property is linked to a marijuana business operated by Kaya Scodelario’s character, Susie.

Did you know the complete arc of your character going in?

In essence, I had minimal guidance on the project. My conversation with Jez was brief, and there were no discussions about the character with Guy; he simply instructed me to portray an Irish character. However, this approach proved thrilling for me as it provided a sense of liberty. On the first day, we filmed a three-page scene outside my character’s home that was somewhat expositional but also rich in character depth. We rehearsed it once and shot it between two to three times, and that marked the beginning and continuation of our work process.

What did you discover about Conrad as you went along?

I appreciate the endearing vulnerability of the character. Moreover, Conrad’s wit is commendable. He’s daring and audacious, yet chilling and unpredictable. His background is shattered, and he’s both sly and brutish. He seems to be aware of Maeve’s schemes, and there’s a deep affection for her – she serves as his link to some semblance of sanity. However, Maeve too is damaged, and Conrad realizes he’s been manipulated by her. For me, the humor lies in that he doesn’t reveal all his secrets, but even after 10 episodes, I’m still discovering this complex man.

When portraying characters who commit terrible acts, is it necessary to find some humanity within them as well?

It can be quite challenging to clearly portray such a character when they’re corrupt. You need to engage the viewers, making them feel connected, even charmed by your performance. Then, at the right moment, you reveal the sharp edges, but that’s part of the excitement.

You played another ambiguous character in “Black Bag.” What appealed to you about that role?

In a twist of real-life drama, I found myself directing a play that mirrored my past as a spy, having once been 007, James Bond. The exhilaration of stepping back into the espionage stage was reminiscent of filming “The Tailor of Panama.” However, it proved challenging since I was simultaneously working on another project titled “Giant,” focused on boxer Prince Naseem Hamed. I had already invested five weeks in the boxer movie when Steven Soderbergh approached me for a role, leaving me with a tight schedule and a difficult decision to make. The situation became overwhelming as I had only a week left on the boxing film and another project from Soderbergh was suddenly presented.

On Friday evening, I boarded a train heading down from Leeds, and on Monday morning, I started working alongside Steven Soderbergh. We immediately dove into a seven-page scene, which gave me quite a boost. That week flew by rapidly, and upon returning to Leeds, I completed my boxing film before moving onto “The Thursday Murder Club.” After wrapping up that project, I headed to Munich for the remake of “Cliffhanger” featuring Lily James, followed by “MobLand.

Review

What’s in Steven Soderbergh’s ‘Black Bag’? Sex, lies and high-stakes spying

In a suspenseful film directed by Steven Soderbergh, it’s Michael Fassbender who plays a character posing as a British intelligence officer. This individual is on the hunt for a potential mole within their agency, and intriguingly enough, this suspect could very well be his wife, Cate Blanchett, in this mystery-filled thriller.

That’s a lot.

It’s quite demanding, yet rewarding. It’s invigorating, particularly when you’ve faced similar situations where your perspective was limited by a rather monotonous landscape, uncertain about what lies ahead. However, I’ve always been a worker, not one for idleness. I find satisfaction in labor. Once you take on a task, you pour all your energy into it and respect the work regardless of the circumstances.

Have you ever had concerns about going back to the espionage genre, and finding yourself being frequently cast in similar types of roles?

Oh dear, it sounds delightful! To be honest, I haven’t strayed too far from that type of work. What I’d love to do next is a piece with some classical influence. Exactly what form or style that will take, I’m not quite sure yet, but adding a touch of classicism to my repertoire at this stage in my career seems like a great idea.

Do you still feel a rush of excitement when you start a new project at this point in your career?

Absolutely! I thrive on the excitement of not knowing what’s coming up next and creating something from that. For instance, “MobLand” was full of potential, but figuring out how to make it a reality was an intriguing challenge. It keeps me engaged and helps me escape my own thoughts.

Are you trying to get away from yourself?

While it’s not a requirement, having a character to delve into, whether it’s a script in hand or by the bedside, provides immense satisfaction, even while sleeping over it. The thrill of embodying such characters, especially alongside actors like Tom Hardy, Helen Mirren, and Paddy Considine, and various directors we collaborated with, was truly enchanting each day. Witnessing the evolution of these characters remains captivating at 72. It continues to exhilarate me and sparks my energy. However, there will come a point when I’ll know it’s time to say goodbye.

Are you someone who always wants to take big risks in your career?

Working on “MobLand” was undeniably fraught with peril, necessitating decisions made on the spot. However, each task, in its essence, remained consistent. It’s like being offered a coveted role in a movie with an exceptional director, stellar cast, and captivating script. The thrill of the invitation is indescribable. But then comes the understanding that you must deliver. This ushers in a quiet, self-imposed pressure chamber: Can I live up to this expectation? What shape will my performance take?

How do you feel when a project is done?

Previously, I clung tightly. Now, I release swiftly and advance. Yet, my connection with Conrad, nurtured over five months and amplified by the echoes it has sparked, stirs anticipation within me for what’s to come.

Is there anything you can tease about the rest of the season?

There’s a lot of blood around. Some people may not be as they appear. There seems to be a specific rat among the group. There are many unexpected events. All the stories so far have been in line with what we’ve previously observed. If anything, the quality of the writing improves. And there’s an entry of a particular character who changes the entire picture. However, don’t trust any of them blindly.

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2025-04-27 10:31

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