Guy Pearce has described his on-screen sex scenes with Kate Winslet in Mildred Pierce as “naughty”.
The actor — Winslet’s love interest Monty Beragon in the HBO mini-series — confessed that he felt nervous about the intimate acts as it is never easy to get naked in front of the camera.
“[The sex scenes] are pretty naughty,” he told PopEater. “When you work with someone like Todd [Haynes, director] and Kate, they’re all about integrity, but there’s always that little voice in your head that says, ‘Okay, here I go, I’m taking my clothes off’.”
He went on to say that, while he has always stayed in shape, he felt that having a dark tan was the key to looking good in the final product.
“Well, I worked on it. I exercise a lot anyway. I’ve always been thin, so keeping him thin and appropriate for the period wasn’t too hard,” he explained. “Also obviously once you get a tan, everyone looks 50 times fitter than they really are. It was all about working on the tan.”
Pearce previously admitted to having a crush on Winslet for many years prior to working with her on Mildred Pierce.
He recently claimed that he saved her life during filming when a car they were driving nearly collided with a delivery truck.
Source: Digital Spy
Painstakingly constructed settings are usually reserved for epic science fiction fantasies where directors have unparalleled freedom to create digital environments, but there are no superheroes in a Todd Haynes film — just empathetic, flawed human beings acting out their lives in minute period detail. Haynes became a cult icon when his 43-minute short film Superstar (1987), the tragic saga of anorexic pop star Karen Carpenter told using Barbie dolls, was banned from circulation because of copyright issues. (Bootleg copies can still be viewed on YouTube.) Haynes, who was born in Los Angeles in 1961, has been tweaking societal conventions ever since. As a pivotal member of the New Queer Cinema movement, he enraged conservative politicians with frank depictions of gay sex in Poison (1991), then upended his own audience’s expectations four years later, with the jarring hypochondriac drama Safe (1995). Subsequent films such as Velvet Goldmine (1998), Far From Heaven (2002), and I’m Not There (2007) manage to embrace both experimental and formal aims, like academic theses wrapped in sweeping, melodramatic arcs. Throughout his career, the director has explored how women have navigated visible and invisible levers of power. “I’m drawn to female characters,” he tells Kate Winslet, his self-professed “other Coen brother” and star and co-producer of his new HBO miniseries, Mildred Pierce. “And not all of them are strong characters.” Airing this spring, the five-part miniseries tells the story based on the novel by James M. Cain, of a resilient but imperfect woman who struggles to raise a family in Great Depression–era Los Angeles. Winslet recently spoke with Haynes, who was at his home in Portland, Oregon, about, among other things, Mildred Pierce, why he’s never made a film set in the contemporary world, and the challenge of letting things go.
It was one of the most sensual scenes in Titanic — Leonardo DiCaprio’s character Jack sketching a naked portrait of Kate Winslet’s Rose in the 1997 blockbuster film.
