It’s easy to forget how uncommon Brad Pitt’s long-standing fame is. The majority of 1990s stars have either moved to franchise roles, fallen into the background of streaming material, or gained more recognition for their personal lives than their careers. Pitt has accomplished something truly difficult: at a time when the category has all but vanished, he has continued to be a movie star in the traditional sense.
In Hollywood, it’s common knowledge that franchises now open films rather than movie stars. There are actors who portray certain characters that audiences pay to watch, but they are not the same thing. The logo above the headline is more significant than the poster’s face. Pitt is one of the few exceptions to this norm, and it’s important to consider why.
Range is a part of the solution. His early career created a distinct image: his physical attractiveness, his Californian ease, and the jobs that made him a mainstay in all magazines. However, he used that platform into work that no one anticipated. Snatch. Fight Club. Se7en. Someone who was satisfied with romantic leads did not make these movies. They were the decisions made by someone who was deliberately dissatisfied with the image’s offerings and decided to work against rather than with it. He was intriguing in part because of the conflict between what people desired from him and what he was actually accomplishing.
The less talked-about but potentially more impressive side of his career is the production work he did with Plan B Entertainment. A slave for twelve years. Moonlight. The Great Short. Vanity productions are not what these are. These are movies that influenced societal discussions, movies that attracted viewers who weren’t initially interested in Brad Pitt but ended up being connected to his name nonetheless. A different type of staying power than box office success is the capacity to create work of true quality without having to be in it.
Pitt has frequently brought up George Clooney’s impact on his conception of celebrity. It is easier said than done to follow the suggestion to keep work and public noise apart and to avoid letting the tabloid cycle define one’s career, particularly when public noise reaches the level it did during some years of Pitt’s personal life. The fact that he mostly adhered to it is noteworthy. He didn’t publicly overcorrect. He didn’t start a publicity tour for rehabilitation. He returned to creating things and allowed them to speak for themselves.
His career pace is a tangible manifestation of the principle he refers to as “be the shark”—keep moving, don’t stop. After working, he vanishes. Not indefinitely, not dramatically, but long enough that his presence doesn’t fade into the background. Returning after a period of absence is more significant than continuous visibility. He seems to have a deeper understanding of scarcity than many of his peers.