Brendan Fraser is firmly back in the Oscars conversation thanks to his vulnerable and deeply human performance in Searchlight Pictures’ “Rental Family” (in theaters Nov. 21). Fraser stars as Phillip Vandarpleog, a down-on-his-luck actor in Tokyo who lands an unusual gig: working for an agency that pays actors to serve as stand-ins for other people’s friends and family members. The heartfelt comedy by co-writer-director Hikari (“Beef”) and co-writer Stephen Blahut explores themes of authenticity and connection, following Fraser’s character—whose only claim to fame is a hard-to-shake toothpaste commercial—as he finds an unexpected purpose in providing companionship to clients.
This high-profile role trails his triumphant best actor win at the 95th Academy Awards for Darren Aronofsky’s 2022 drama “The Whale.” That award cemented Fraser’s powerful transition from the lighthearted, action-adventure projects that defined his career in the 1990s and 2000s (such as “George of the Jungle” and “The Mummy” franchise, which he will soon return to in a fourth installment) to critically acclaimed dramatic performances.
We sat down with Fraser to dig into the intricacies of portraying Phillip, how he pulled from his own experiences (he shares a similar gig to his character’s gingivitis-fighting superhero), and how his process has evolved over the years.
Hikari has mentioned that “Rental Family” is a deep dive into the craft of acting and authenticity. What was her key piece of direction that helped you anchor Phillip’s journey?
I don’t know if she ever really gave me that, apart from having extensive and lengthy discussions about the world of [the film].
When she and I first met, it was in the winter of 2022, and we wound up talking for, no joke, probably about six hours. We moved to the library of this hotel and went through books, and we shared so much about our experience of really being alive and surviving through this era of COVID-19, when we were locked down and feeling so lonesome. That was inspiration for this film.
Brendan Fraser in “Rental Family” Credit: James Lisle/Searchlight Pictures
She wrote the script at a time when she felt very lonesome, too. She had researched employment in Tokyo, and her writing partner found that you could actually rent a family member if you wanted to. And that sparked a great deal of curiosity.
It was a great springboard for exploring relationships that have that paucity of connection that we as a society are feeling in epidemic proportions. It might be a [result] of us and an entire generation born now with this glass, plastic, metal information disk in our hand, and it lets us know everything we need to know. But it’s not giving us what we really need, which is looking someone clearly in the eyes and letting them know that they exist. And that need is worth paying for in Tokyo.
Throughout the film, your character has to speak a lot of Japanese. You’ve mentioned you’re “not a very good student” of languages, but are “an excellent mimic.” What advice would you give to other actors taking on foreign language roles?
Do as much tutoring as you can. And if you do have a talent for mimicry, great; use it. But I would say, don’t just be phonetically correct. Know what you are saying. Remember, these words have meanings. Speak the thoughts. It’s like working with classic text or in iambic pentameter; it’s most successful to the actor when they think the thoughts and then speak the text, instead of the other way around. And have an understanding of the right diction and the right phrasing so that you’re not misunderstood.
Shannon Gorman and Brendan Fraser in “Rental Family” Credit: James Lisle/Searchlight Pictures
What would you tell aspiring actors who may face similar professional setbacks like your character in “Rental Family”?
I got to tell you, I don’t know if Phillip is a very good actor, necessarily. I mean, hey, the Clearo Brighto Man [toothpaste commercial] gig was great at the time it came along, and that happens in actors’ lives. It put some money in his pocket, but it kind of pigeonholed him as the Clearo Brighto Man forever and ever in Japanese society. And that’s OK.
This toothpaste commercial becomes a persistent, defining moment for Phillip. From an actor’s perspective, do you have a real-life commercial or early gig that is similar for you?
When I was a starving student, I signed up for a job that paid me 14 bucks an hour, and it was to stand on the side of Aurora Avenue in Seattle, Washington, in a dodgy part of town, wearing a keystone cop costume complete with hat. And I brought my crepe mustache hair and built myself a handlebar mustache, because I was holding a placard and shaking a bell, inviting the cars driving past to rent a new storage locker at the facility that just opened.
And I was so committed to the part. I don’t think I’ve been flipped off as many times before then, or had drive-through-window food thrown at me, but you know what? At the time, it was a gig, and I was glad to be making the money. I felt like, you know what? I am committed to this, and it can only go up from here.
You’re also preparing to step back into probably one of your best-known roles with “The Mummy 4.”
Well, you do know that my lips are sealed about answering too many questions about that one, but nice try. I am hopeful that we can be talking about this again soon, because the fans deserve what they want.
“The Mummy Returns” Credit: Maximum Films/Alamy
How has your approach to acting evolved from your early days in films like “George of the Jungle” to now, with more dramatic roles like in “Rental Family”?
I think it’s always been the same to tell you the truth. Believe in what you’re doing. Connect with the people around you. The basics: Show up on time. Know your lines, know your lines, know your lines. That’s what you’re hired for. And be a good guy or girl. You’ll go a lot further that way.
This interview has been edited for clarity and length.