However, the part eventually went to Zachary Quinto. The film was well received , but Brody doesn't feel like he was dealt an unfair hand. He says that he doesn't waste time regretting the roles he didn't get. Brody probably wouldn't describe himself as a workaholic.
In fact, he isn't shy about the fact that he'll happily take long periods of time off for travel. He doesn't begrudgingly accept roles that he isn't passionate about. He simply embraces his free time while he waits for the right opportunity to come along. And when Brody's not acting, he has another creative pursuit: painting. Brody was actually an art school reject, but that doesn't mean he put painting on the back burner. Now, his work is featured in art galleries, and he says that ideas for new paintings come to him in his dreams.
He's just as invested in painting as he is in acting. Adrien Brody may have been seen as a serious, dramatic actor after starring in The Pianist , but he showed a different side of himself when he began working with Wes Anderson.
Anderson is probably Brody's favorite director to work with. His quirky, colorful films have a distinct and unique aesthetic, and Brody loves being a part of the worlds that Anderson creates on the big screen. Fox , and The Grand Budapest Hotel. After seeing Brody in The Pianist , it was likely a bit surprising to see him in one of Anderson's films.
But Brody insists that Anderson's direction brings out his genuine self. One major reason it seems like Brody was changed forever by The Pianist is that it was indisputably a career-defining role. That's not because he hasn't proven his versatility as an actor since — with the variety of films he's worked on, he certainly has — but because the film made such a huge cultural impact that 17 years later, it's still the first thing that critics, fans, and journalists associate him with.
In fact, an interview with Brody rarely goes by without at least one or two questions about The Pianist. For Brody, there is simply no escaping this particular role, but it doesn't look like that bothers him. On the contrary, he's still open to fielding questions about it. Brody recognizes that by being the face of a such a moving film, he will always bear a certain level of responsibility to the people who were heard his message.
Furthermore, he still holds the title of the youngest man to win the Academy Award for Best Actor. Brody has worked on TV shows before, but he's mainly stuck to doing guest spots rather than recurring roles.
So far, there's been one exception to that rule: playing Luca Changretta on Peaky Blinders. Detachment Role: Henry Barthes. The Thin Red Line Director: Terrence Malick. Midnight in Paris Director: Woody Allen. King of the Hill As: Cast. Director: Steven Soderbergh. King Kong Role: Jack Driscoll. Genres: Romance, Adventure, Action, Drama. Love, Marilyn Star Cast: F.
The Darjeeling Limited The Jacket Role: Jack Starks. Cadillac Records Bread and Roses Role: Sam Shapiro. Director: Ken Loach. Harrison's Flowers Role: Kyle Morris.
Liberty Heights Role: Van Kurtzman. The Brothers Bloom Genres: Drama, Romance, Comedy, Adventure. Dummy Yi jiu si er The Village Role: Noah Percy. Director: M. Night Shyamalan. Summer of Sam Director: Spike Lee. Genres: Crime, Romance, Thriller, Drama.
Hollywoodland Role: Louis Simo. Predators Bullet Role: Ruby Stein. Love the Hard Way Role: Jack Grace. Brody didn't know much about the coach prior to preparing for the part, but he quickly learned that Riley's story was more complex than he realized. Before Riley became a Hall of Fame coach, he had been a college hoops star, Brody learned, and then a reserve on a title-winning Lakers squad. When McKay was casting the show, he and Max Borenstein, the series writer, needed an actor who could reflect the coach's duality of spirit.
Although Riley obviously doesn't advertise or isn't quite as comfortable with the vulnerability as much as Adrien is. But it's clearly there. That's the Riley he's been thinking about: not the swaggering, Armani-suited icon but a young man worried that his best years are behind him, baffled by the circumstances that have landed him in what should be an ideal position.
It's funny, Brody says, just how much Riley's story seems to echo his own. Living with the comparison these last few months has given him ample reason to think back on the strange storm that seemed to settle over his life and career after he won his Oscar, in , for his work in The Pianist.
Back then, Brody struggled with the same sort of contradiction Riley faced when he was handed the reins of the Lakers: He was ostensibly on top of the world and yet felt unable to control the trajectory of a career that might have peaked terrifyingly early.
In Brody's case, the rush of fame and work that followed the film provided a measure of security, but the experience also left him depressed and with an eating disorder, and it permanently reordered the expectations—his own and the industry's—about how his career should go, about what success might look like.
As he's explaining all this, pausing for winding digressions about the nature of luck and the vagaries of independent film production, we're stopped in the middle of the trail by a leather-skinned hiker with a thick New York accent. He recognizes the famous actor and introduces himself as Jack. He tells us that he used to know Gerald Gordon, an acting teacher with whom Brody took some classes when he first moved to Los Angeles.
Jack explains that Gordon once prepared him for just this moment, having instructed him to send along Gordon's best wishes should Jack ever happen to run into Adrien Brody. Which sounds improbable, only it's exactly what has just happened. Jack seems as confused as we are. Brody offers his appreciation and elegantly ends the conversation.
Perhaps thanks to Brody's open-to-the-moment training as an actor, or maybe just his congenital sensitivity, humdrum events like these—a hike, a chat with a friend of an old teacher, a discussion about what he's working on these days—have a way, in his life, of feeling freighted with a special charge.
Metaphors, I learn over the course of our time together, tend to follow him around—some days like a litter of puppies, others like a colony of angry wasps. He's spent his career pouring every ounce of himself into his roles. But right now, with the Riley job and everything else around it, he seems ready to learn from the work.
Helpful lessons abound, if we're ready for them. As we make our way up the hill, Brody pushes the pace. He turns back to me. We've been hiking for maybe 15 minutes. Brody spent the summer shooting the Lakers show in various locations across Los Angeles.
Every morning, he'd fold his lanky frame down into his blacked-out, souped-up, stick shift Fiat, and pilot it from his home in the Hills to wherever the production was based that day. He quickly came to love his commute—or maybe less the specific commute than the small joy of finally getting to have one.
Much of his work as an actor has taken place in less comfortable climes. He long ago noticed that his friend Owen Wilson somehow managed to always wind up acting in movies that shot in town. Brody wasn't so lucky. It is true that if you were making a movie set in Santa Monica, you might not cast Adrien Brody. If, however, you were making a film that needed a face easily contorted into Eastern European-inflected despair, or that required the sort of actor who might regard a low-budget indie production in the Balkans as a kind of glorious adventure, Brody would be your guy.
Some of this is plain anatomy. He's got the ski-slope nose, and the wide, deep-set green eyes, and a pair of eyebrows tilted up in permanent expectation. He looks wry but also a little sad. His voice—raspy, nasal, flecked with wiseguy—feels out of time. Wes Anderson appreciates this quality.
Brody comes by it all honestly. His mother, the photographer Sylvia Plachy, left Budapest for Vienna as a teenager, around the time of the Hungarian Revolution, and eventually arrived with her family in New York, where she would later begin shooting for the Village Voice. And immortalize it. He was a sensitive kid, upset about that quality in himself until he realized that it could be a gift too.
And purge, I guess, or, participate in another human being's suffering, and not feel alone in my own. And then understand the universality of all of our suffering and joy, but embrace the moments of joy and honor the vast suffering that unfortunately is the pervasive underlayer.
Mom came back from an assignment to shoot at the American Academy of Dramatic Arts with a feeling that her only child—a budding magician and a natural performer—might like to study acting formally. That one-day job provided lessons that endured: When the script called for a couple of girls to show a strong aversion to the awful cologne being worn by Brody's character, the director doused the teenage Brody. Anderson remembers seeing it with Owen Wilson and being captivated by Brody.
And he just grabs you, instantly. For a while, stardom for Brody seemed just on the edge of the frame. Brody kept plugging away. As we talk, the trail ends and the two of us are deposited out of the canyon and onto a quiet street, a leafy cul-de-sac plump with large homes. Up ahead is the road that will lead us gently back down the hill, to the spot where we left our cars. Brody has a different idea. It's a narrow, steep single-track path that is presently baking in the midmorning heat.
We take it. When he breezed in minutes later — 6ft tall, a spring in his step — he smiled in an avuncular sort of way, and told his dad he had to go, that he was headed into a meeting, and that he loved him. Brody and I are here to discuss his latest film, The French Dispatch , which follows a group of expatriate journalists and the colourful subjects of their features and profiles. I tell him it must be difficult to sit for an interview without knowing how a reporter will paint you.
After close to three decades in the film industry, he accepts that speaking to the press is part of his job. It becomes shifted and filtered through all kinds of different points of view.
And then, depicted as you. A rendition of you. Who did you murder? He just wants to continue painting his muse, Simone — who also happens to be the warden.
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