NEW YORK — Over the years, Guy Pearce has demonstrated remarkable versatility in his acting, often portraying characters that seem polished on the surface but are hiding darker aspects of their personalities. This trend was evident in his career-defining role in “L.A. Confidential,” where he played a seemingly virtuous police detective with questionable ethics. It continued with his portrayal of a suave, upper-class bachelor in “Mildred Pierce,” and it most certainly applies to his character in “The Brutalist,” where he embodies a complex mid-Atlantic tycoon.
“I am very aware of the fragility of the human condition,” Pearce reflects. “Individuals can be virtuous yet also capable of wrongdoing, and those who are considered bad can perform good acts. Each moment, we strive to navigate through life, attempting to do right by ourselves and others, but it’s quite easy to veer off course.”
This intricate duality has greatly enriched Pearce’s portrayals, particularly with his high-society characters that reveal a lack of moral depth. As Harrison Lee Van Buren in “The Brutalist,” Pearce delivers perhaps his most complex performance yet. With the film earning 10 Oscar nominations recently, it’s Pearce’s chilling portrayal that adds a unique tension to the narrative.
Van Buren is a classic archetype of a villain: a cultured aristocrat initially appearing as a generous supporter to architect László Tóth, played by Adrien Brody. However, their relationship, which begins as a friendship with Tóth—a Holocaust survivor struggling to make ends meet—takes a dark turn. Van Buren becomes increasingly possessive, twisted by jealousy, and the dynamics culminate in a disturbing climax when he refers to Tóth as merely “a lady of the night.”
Reflecting on his collaboration with director Brady Corbet, Pearce appreciates his artistic sensibility. “Brady is a person of taste and sophistication. He doesn’t operate like a typical businessman driven only by greed. His ability to recognize beauty and artistry could also be a curse for him,” Pearce explains in a recent discussion.
At the age of 57, Pearce has finally earned his first Oscar nomination—an accolade that seems long overdue for a character actor known for his roles in “Memento,” “The Count of Monte Cristo,” and “The King’s Speech.” Although he values these achievements, Pearce admits feeling uncomfortable with the spotlight of Hollywood fame, as he has deliberately opted to stay away from it.
“Honestly, I find such attention uneasy,” he admits. “What brings me satisfaction is knowing that I’ve delivered a strong performance. I can genuinely tell when I’ve succeeded or failed. Yet, I also recognize how subjective performances can appear, depending on the film’s overall tone. If I were in a different setting with a less capable director, I might not received the same level of acclaim.”
Echoing the great cinematic villains of the past, such as F. Murray Abraham’s Salieri from “Amadeus,” Pearce’s Van Buren has quickly established a notable place among iconic film antagonists. His character is inspired by real-life complexities, though set in a different era. Corbet and co-writer Mona Fastvold drew upon their own difficult experiences with financial backers during the making of their previous film, 2018’s “Vox Lux.”
Fastvold notes, “While we didn’t have someone like Van Buren, we certainly faced complex dynamics with those funding our projects. There’s often a perception of ownership since they are financing the film, leading to a sense that they have control over us as well.”
Having been a part of the film industry for quite some time, Pearce has encountered many affluent individuals funding productions. However, he clarifies that his own personal experiences did not influence his performance in “The Brutalist.”
“Producers usually visit the set at higher levels, and while I’m polite and introduce myself, my focus primarily remains on my role,” he shares. “It’s often years later that I discover I met someone who was integral to a project, like the producer for ‘L.A. Confidential.’”
Residing in the Netherlands with his partner, actress Carice van Houten, and their child, Pearce tends to maintain a certain distance from Hollywood’s glitz and glamour. He comes across as cheerful and modest, often preferring to discuss his passion for Aussie rules football over speculation about awards seasons. “I take any chance I can to have a kick,” he says with a smile.
This youthful perspective permeates his approach to acting, as Pearce—who began his career in the mid-’80s on the long-running Australian soap “Neighbors”—feels that holding tightly onto his performance can be exhausting. “If I cling to it for the whole day, that’s tiring,” he mentions. “The most vital aspect for me is to tap into my imagination, which feels like a childish adventure. It’s a valuable part of being an adult, allowing us to engage with various ages at different times.”
In exploring his role as Van Buren, Pearce was guided more by the script than personal experiences. He found the most challenging aspect of becoming this character was mastering the voice. “Thankfully, I have a friend in Danny Huston, whose voice is beautifully classic,” he explains. He didn’t dwell on Corbet’s struggles during “Vox Lux.”
“I understand that Brady faces challenges with every film he directs due to his visionary nature,” Pearce observes. “The producers wanted him to shorten this film’s runtime, but now they’re claiming they supported him all along.”
To some extent, Pearce believes he doesn’t fully grasp his performance while executing it; rather, enlightenment often comes afterward during viewing. He reflects on that significant “lady of the night” moment, recognizing that while filming, he thought he was asserting his dominance over Tóth. “Watching it back, I realized I was really merely imposing that idea on myself. It carries an even greater level of discomfort.”
Interestingly, the character of Van Buren, who is desperate for control, is perfectly embodied by an actor who prefers to exert minimal control over himself. “Van Buren embodies performance; he exhausts himself in the pursuit of control and charm. I sense he struggles with self-awareness in social settings. That approach to life must be utterly draining,” Pearce concludes.
