Pierce Brosnan appears in Burberry’s holiday campaign filmed at Longleat House in Wiltshire, England, joining a cast that includes Fiona Shaw, Dwyane Wade, Cara Delevingne, Gabrielle Union, Nico Parker and his son Dylan Thomas Brosnan. The project marks a celebration of Burberry’s 170 years and stages a classic, cinematic British Christmas with the label’s signature checks and timeless outerwear.
On set Brosnan found a quick but meaningful connection with Shaw, describing their time together as, “It was absolutely wonderful.” He also enjoyed the atmosphere of the large-scale production and the company of family: filming alongside his son made the shoot particularly memorable.
Campaign setting and style highlights
The festive film places its action in an English country-house setting, using the grandeur of Longleat House to frame scenes of guests in tailored jackets and classic trench coats. Brosnan singled out the trench as a touchstone: “The Burberry trench is such a cornerstone of British style,” he said, and spoke of a long-held personal affection for his own Burberry Mac, which he has kept for many years. The campaign foregrounds heritage tailoring and sartorial staples while assembling a varied ensemble cast to represent different facets of contemporary British fashion.
Brosnan on characters, craft and contemporary actors
Reflecting on his film roles and the actors now being discussed for major parts, Brosnan positioned himself as an interested observer. He called Callum Turner “someone I’ve worked with, and he’s so strong,” and praised the general talent pool being considered for future incarnations of long-running characters. On the prospect of Denis Villeneuve directing the Bond franchise, he offered measured enthusiasm: “I think we are going to be blown away.” Those remarks underline Brosnan’s curiosity about how visionary directors might reshape established cinematic properties.
Thoughts on Thomas Crown and Michael B. Jordan
Brosnan also revisited his experience playing Thomas Crown and welcomed contemporary reinterpretations. He expressed support for Michael B. Jordan’s upcoming take on the character and emphasized the cinematic appeal that draws actors to such roles: “There’s something just beautifully cinematic about the character.” For Brosnan, Thomas Crown was always a romance driven by a man who had everything except love, and his production choices—down to the influence of René Magritte on costume motifs—were meant to preserve an aura of enigma.
Style, craft and a life split between acting and art
Brosnan described his lifelong engagement with tailored clothing, noting how characters such as Remington Steele and James Bond shaped his relationship to style. After a period of pushing against that cultivated image, he now embraces the pleasure of dressing well. The actor also credited costume teams like Rebecca Hale on MobLand for contributing pieces he has kept, including a memorable overcoat that became part of his personal wardrobe.
Beyond clothing, Brosnan detailed the role of painting and studio practice in his life. He has exhibited work previously and continues to paint, sketching even while on set. He named an artist-mentor from Kauai who influenced his development and described painting as both a restorative and challenging parallel to acting. The two disciplines, he said, feed each other: acting provides a public practice and livelihood, while painting offers private exploration of inner life.
With commitments including a return to London and ongoing work on season three of MobLand, Brosnan is balancing family time—he anticipates visits with his children and grandchildren—with studio hours and future exhibitions. His comments convey an artist who remains engaged with performance and visual art while watching a new generation take on the roles that helped define his career.
