Murray Bartlett, the Australian actor best known for his Emmy-winning role as resort manager Armond in The White Lotus, has once again captured attention with his latest film, Opus. Directed by former journalist Mark Anthony Green, the film is a wild ride that combines elements of psychological horror, dark comedy, and a glittering musical. Set in a remote New Mexico compound, Opus explores the world of celebrity, power, and the darker side of fame, with Bartlett playing a cynical magazine editor opposite The Bear’s Ayo Edebiri.
Despite the film’s controversial content, including a jaw-dropping lap dance scene featuring John Malkovich, Bartlett brings his signature charm and wit to the project. Speaking to The Standard, Bartlett shared his thoughts on the film, the experience of working with Malkovich, and the underlying themes of celebrity worship that Opus explores.
A wild ride with dark themes
Opus tells the story of a journalist, played by Edebiri, and her boss, Bartlett’s character, who travel to the New Mexico compound of a reclusive pop star, Moretti (played by Malkovich), for a private listening party. However, the event quickly turns nightmarish as it becomes clear that Moretti’s cult-like influence over his fans goes far beyond music. For Bartlett, the film’s unexpected twists and deep exploration of celebrity and power made it an exciting challenge to work on.
“It’s a wild ride,” Bartlett says, reflecting on his first reaction to the script. “When I read it, I didn’t see it going where it was going. I love that it’s a fun ride but also touches on weighty themes about celebrity and power. You don’t know if it’s funny or horrific, and sometimes it’s both.”
Indeed, one of the more surreal moments of the film involves Malkovich giving Bartlett and other cast members a lap dance. “Yeah, I mean extraordinary,” Bartlett laughs, his eyes lighting up. “The lack of boundaries in some of those scenes is fun as an actor.”
While that scene may be one of the more shocking moments, Opus is filled with bizarre and unexpected twists, blending elements of Midsommar, Once Upon a Time in Hollywood, and a splash of musical fantasy. For Bartlett, it’s a role that allowed him to explore his more mischievous side while tackling the darker aspects of fame and power.
Celebrity and power: The film’s core themes
One of the film’s key themes is the way society elevates celebrities and powerful figures to a status that allows them to escape accountability for their actions. Bartlett’s character is a magazine editor in the music industry who feels entitled to his position, often patronising and undermining his younger, more idealistic colleague, played by Edebiri.
“I play a top dog at a music magazine, not based on Rolling Stone’s Jann Wenner but that kind of archetype,” Bartlett explains. “A white man at the top of the music industry world who feels ownership and a lot of entitlement over that. He’s patronising and misogynistic, but in a way that’s hard to call someone out on. But there’s something gross there.”
For Bartlett, the character’s behaviour is all too familiar. “Funnily enough, I’ve had a lot of first-hand experiences with such people in the entertainment industry,” he says wryly. “They’re not hard to find.”
The film’s exploration of celebrity power mirrors the disturbing deification of celebrities in real life. “We deify and lift up celebrities and people in power in a way that is fascinating and scary,” Bartlett notes. “We justify it or see it as a quirk of being in that position. It’s something we really need to look at because there are people in power who are getting away with things they shouldn’t.”
Bartlett believes Opus is timely in its critique of how society elevates individuals based on their fame or influence, often at the expense of accountability. He is particularly interested in examining how these figures wield their power and the impact it has on both them and those around them.
A strong partnership with Ayo Edebiri
One of the film’s highlights is Bartlett’s dynamic with Ayo Edebiri, who plays the journalist navigating the twisted world of Moretti’s compound. Edebiri’s performance as Sydney in The Bear has garnered critical acclaim, and Bartlett was thrilled to work with her again.
“Ayo has incredible timing and intelligence as an actor,” Bartlett says. “With all the success that she’s had, it hasn’t chipped away at any of her authenticity. We had a lot of fun with those scenes.”
Outside of their on-screen chemistry, Bartlett shares a fun anecdote about Edebiri’s cooking skills. “Ayo cooked us all Thanksgiving dinner on set,” he says with a grin. “Even better was going out for dinner with her. When she walks into a restaurant, you see the kitchens losing their minds. We went to a restaurant in Santa Fe, and someone from the kitchen came out to say, ‘You really inspired me to do what I’m doing.’ It was beautiful to see.”
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Reflections on the white lotus and life after stardom
Looking back at his career, Bartlett reflects on how his role in The White Lotus marked a significant shift in his life. His portrayal of Armond, the charming yet flawed hotel manager, turned Bartlett into a fan favourite and brought him international recognition.
“It was such a great experience for me that changed things in such a big way in my life,” Bartlett says of his time on The White Lotus. “It was unexpected. Suddenly I had choices and interest in me. It was overwhelming at first, but also super exciting.”
Since then, Bartlett has become one of Hollywood’s most in-demand actors, though he remains grounded, finding joy in new projects like Opus and his upcoming role in The Death of Robin Hood, a dark reimagining of the legendary figure. For now, though, it’s clear that Bartlett is relishing his newfound opportunities without the glare of superstardom, enjoying a career that blends versatility and creativity in equal measure.
