Pierce Brosnan Opens Up: From Pink Floyd Fan to Hippy, His Journey & ‘The Thursday Murder Club’

On a typical weekday morning, I find myself next to Pierce Brosnan, observing a lady in a hairnet and rubber boots as she cleans the front of a fish market. Brosnan, once the iconic James Bond, is animatedly discussing a scene from the show “MobLand.” “Remember the part in MobLand where I’m pressing down on that fellow’s neck and Tom Hardy is firing away?” He recounts enthusiastically about the crime series where he and Helen Mirren are Irish mob leaders. “It was filmed right here!” he exclaims, greeting the woman who pauses her hosing to respond politely, seemingly humoring him like one would a mistaken relative. She doesn’t recognize the reference, prompting a chuckle from Brosnan as the hose resumes its spray.

Now 72, Brosnan hails from Navan, County Meath but splits his time between homes in Hawaii and Malibu. He’s currently in London for the premiere of “The Thursday Murder Club,” a movie based on Richard Osman’s popular novel. In the film, Brosnan joins forces with Mirren, Ben Kingsley, and Celia Imrie as detectives living in a retirement home who solve past cold cases for fun, which takes a turn when new murders occur. Today, he’s taking a nostalgic walk through North London where he first honed his acting skills, a trip down what he affectionately calls “memory lane.”

Our journey begins at the Camden Arts Projects, a former Methodist church now serving as an exhibition space, which once housed the Drama Centre London where Brosnan auditioned and was accepted over fifty years ago. He steps onto the stage, surrounded by the expansive white room and looks up at the vacant balconies, lost in memories of his formative years. “This place was instrumental in my development as an actor,” he reflects.

With his hair neatly swept back revealing a distinguished look, Brosnan recalls his audition in 1973. Back then, with shoulder-length hair, a goatee, and an earring, he already had experience in experimental theatre at Ovalhouse, now Brixton House, which influenced his role in “The Thursday Murder Club” as Red Ron, a former trade unionist. “I understood Ron’s character, having been involved in street theatre and political demonstrations,” he says.

Despite his practical experience, Brosnan lacked formal training. His first audition at Webber Douglas ended abruptly when he fell off the stage due to nerves. At Drama Centre, determined to succeed, he performed a soliloquy from Macbeth, impressing Christopher Fettes, the co-founder of the centre, who became his mentor. Fettes, who passed away last year at age 94, once expressed that Brosnan’s move from stage to screen was a loss to theatre, even considering his role as James Bond somewhat beneath his protege’s capabilities.

Acknowledging Fettes’s influence, Brosnan admits, “Christopher envisioned me in challenging plays from the 19th century, but my dream was always the big screen.” His successor as Bond, Daniel Craig, regularly returned to theatre, a choice Brosnan respects but didn’t pursue himself. “You really have to desire it, and my heart was set on film,” he explains.

On whether Bond was a step down for him, Brosnan humbly responds, “That’s very generous of Christopher to say. But Bond brought me global recognition and opportunities, something I’m grateful for.” Stepping outside, he puts on stylish sunglasses, a gift he mentions were quite expensive, according to his son.

Brosnan’s portrayal of Bond, starting with “GoldenEye” in 1995 and ending with “Die Another Day” in 2002, required him to navigate the character’s historically chauvinistic traits while maintaining his heroism. He recalls earlier memories of Bond, like watching “Goldfinger” with his stepfather, around the time he reunited with his mother in London after years apart. Interestingly, he notes that Bond author Ian Fleming passed away the same month he arrived in England, a twist of fate not lost on him.

We move on to the Roundhouse, a live music and former theatre venue, where Brosnan performed in the British premiere of Tennessee Williams’ “The Red Devil Battery Sign” in 1977. Promoted from understudy by Williams himself, Brosnan remembers receiving a telegram from the playwright on opening night that read, “Thank God for you, my dear boy. Love, Tennessee Williams.” Despite a misspelling of his name on promotional materials, Brosnan laughs it off.

Inside the Roundhouse, the security staff allows us to look around. Brosnan shares a memory of assisting a disoriented Williams to his car after a performance. “Tennessee enjoyed his drink; his gatherings were lively with storytelling,” he reminisces, admitting his own indulgence made those stories hard to remember.

Discussing his affinity for Pink Floyd over punk music, Brosnan describes himself as more of a hippy, evident from the beads around his neck, a gift from a monk during a turbulent flight. As our conversation concludes at a nearby cafe in Primrose Hill, Brosnan is distracted by the dogs passing by, leading to a mention of his favorite humorous video involving a dog dressed to look like it has human hands.

Reflecting on “The Thursday Murder Club,” Brosnan is still puzzled why director Chris Columbus thought of him for the role of Ron, simply instructing him to grow a beard. He also reunites with Helen Mirren and Paul Freeman in the film, marking a nostalgic return to shared cinematic history.

As Brosnan prepares to leave, a family of tourists excitedly recognizes him, a testament to his enduring appeal. If only he had witnessed their reaction firsthand.