Adrien Brody

Just the space. I don't know where this guy came from, this director. Ich weiß, dass er nicht viel gemacht hat, aber die Aufmerksamkeit, diese Art von cinematischen Raum zu schaffen, ist einfach so ein seltsames Ding, Mann. Und wenn du... Und wenn du da drüber gehst... Ich meine, wusste du, dass er das tun konnte?

Just the space. I don't know where this guy came from, this director. Ich weiß, dass er nicht viel gemacht hat, aber die Aufmerksamkeit, diese Art von cinematischen Raum zu schaffen, ist einfach so ein seltsames Ding, Mann. Und wenn du... Und wenn du da drüber gehst... Ich meine, wusste du, dass er das tun konnte?

Just the space. I don't know where this guy came from, this director. Ich weiß, dass er nicht viel gemacht hat, aber die Aufmerksamkeit, diese Art von cinematischen Raum zu schaffen, ist einfach so ein seltsames Ding, Mann. Und wenn du... Und wenn du da drüber gehst... Ich meine, wusste du, dass er das tun konnte?

Yeah, because you don't think, man, this is going to be riveting. You don't think an architect.

Yeah, because you don't think, man, this is going to be riveting. You don't think an architect.

Yeah, because you don't think, man, this is going to be riveting. You don't think an architect.

Well, I mean, but it's very interesting what it speaks to in terms of class, in terms of... The immigrant experience. The immigrant experience, how, you know, and the arts in general, but also antisemitism. That's right. You know, how the waspy aristocracy saw the bohemian sort of, and the envy there. Yeah. I mean, like it unfolds very slowly.

Well, I mean, but it's very interesting what it speaks to in terms of class, in terms of... The immigrant experience. The immigrant experience, how, you know, and the arts in general, but also antisemitism. That's right. You know, how the waspy aristocracy saw the bohemian sort of, and the envy there. Yeah. I mean, like it unfolds very slowly.

Well, I mean, but it's very interesting what it speaks to in terms of class, in terms of... The immigrant experience. The immigrant experience, how, you know, and the arts in general, but also antisemitism. That's right. You know, how the waspy aristocracy saw the bohemian sort of, and the envy there. Yeah. I mean, like it unfolds very slowly.

Never. Yeah. I read a biography of Rothko once, and it was crazy what those guys would do to pass. But when he was at wherever it was, Yale, I think, they weren't even letting Jews in, really. But I think there's some sort of parallel between his life, I mean, Rothko's like the best, right? Yeah, absolutely. But when you're preparing for this role, I mean, what are you doing?

Never. Yeah. I read a biography of Rothko once, and it was crazy what those guys would do to pass. But when he was at wherever it was, Yale, I think, they weren't even letting Jews in, really. But I think there's some sort of parallel between his life, I mean, Rothko's like the best, right? Yeah, absolutely. But when you're preparing for this role, I mean, what are you doing?

Never. Yeah. I read a biography of Rothko once, and it was crazy what those guys would do to pass. But when he was at wherever it was, Yale, I think, they weren't even letting Jews in, really. But I think there's some sort of parallel between his life, I mean, Rothko's like the best, right? Yeah, absolutely. But when you're preparing for this role, I mean, what are you doing?

Like, you know, because you were a research guy. And I didn't realize, I thought the guy was a real guy. Mm-hmm. But it must be based somewhat on the idea, because modernism in and of itself, and then at the very end, when you kind of, you know, there's an award presented to you or a tribute, you know, the interpretation of why your character created those spaces.

Like, you know, because you were a research guy. And I didn't realize, I thought the guy was a real guy. Mm-hmm. But it must be based somewhat on the idea, because modernism in and of itself, and then at the very end, when you kind of, you know, there's an award presented to you or a tribute, you know, the interpretation of why your character created those spaces.

Like, you know, because you were a research guy. And I didn't realize, I thought the guy was a real guy. Mm-hmm. But it must be based somewhat on the idea, because modernism in and of itself, and then at the very end, when you kind of, you know, there's an award presented to you or a tribute, you know, the interpretation of why your character created those spaces.

And the way he, you know, he doesn't, you see him as an immigrant, not necessarily as a survivor. But it seems that in his family, the Holocaust looms large. Oh, yeah. Right?

And the way he, you know, he doesn't, you see him as an immigrant, not necessarily as a survivor. But it seems that in his family, the Holocaust looms large. Oh, yeah. Right?

And the way he, you know, he doesn't, you see him as an immigrant, not necessarily as a survivor. But it seems that in his family, the Holocaust looms large. Oh, yeah. Right?

Ich meine, es ist einfach so, dass es eine Langweiligkeit gibt, die die Intensität erhöht. Es ist eine Unterschiede zwischen einer Langweiligkeit, wo du denkst, oh, fuck, wann wird das enden? Und einer Langweiligkeit, die sich irgendwie löst und die Aufmerksamkeit behält.

Ich meine, es ist einfach so, dass es eine Langweiligkeit gibt, die die Intensität erhöht. Es ist eine Unterschiede zwischen einer Langweiligkeit, wo du denkst, oh, fuck, wann wird das enden? Und einer Langweiligkeit, die sich irgendwie löst und die Aufmerksamkeit behält.