Alexandra Schwartz

The Catholic Church was made for this moment. I think 2,000 years ago, the Catholic Church basically anticipated TikTok, Instagram, X. You don't have those little Swiss guard outfits and think they're not being photographed. Oil painting is not enough.

The Catholic Church was made for this moment. I think 2,000 years ago, the Catholic Church basically anticipated TikTok, Instagram, X. You don't have those little Swiss guard outfits and think they're not being photographed. Oil painting is not enough.

The Catholic Church was made for this moment. I think 2,000 years ago, the Catholic Church basically anticipated TikTok, Instagram, X. You don't have those little Swiss guard outfits and think they're not being photographed. Oil painting is not enough.

This is the New Yorker Radio Hour, a co-production of WNYC Studios and The New Yorker.

This is the New Yorker Radio Hour, a co-production of WNYC Studios and The New Yorker.

This is the New Yorker Radio Hour, a co-production of WNYC Studios and The New Yorker.

We're getting close to a decade. It's true.

We're getting close to a decade. It's true.

We're getting close to a decade. It's true.

Yes, I profiled the director, Brady Corbett. I mean, it's a small movie comparatively. It was on a $10 million budget, but it is a huge movie, both thematically and in its form. It is close to four hours when you include its 15-minute intermission. And rather than scare away audiences, this seems to have enticed people. You know, it's an immigration story.

Yes, I profiled the director, Brady Corbett. I mean, it's a small movie comparatively. It was on a $10 million budget, but it is a huge movie, both thematically and in its form. It is close to four hours when you include its 15-minute intermission. And rather than scare away audiences, this seems to have enticed people. You know, it's an immigration story.

Yes, I profiled the director, Brady Corbett. I mean, it's a small movie comparatively. It was on a $10 million budget, but it is a huge movie, both thematically and in its form. It is close to four hours when you include its 15-minute intermission. And rather than scare away audiences, this seems to have enticed people. You know, it's an immigration story.

It's the story of a Jewish architect following World War II. So it has a lot of themes that Hollywood might like or consider certainly to be serious. And it's really being hailed as a filmmaker's film. Uh-oh. Yeah.

It's the story of a Jewish architect following World War II. So it has a lot of themes that Hollywood might like or consider certainly to be serious. And it's really being hailed as a filmmaker's film. Uh-oh. Yeah.

It's the story of a Jewish architect following World War II. So it has a lot of themes that Hollywood might like or consider certainly to be serious. And it's really being hailed as a filmmaker's film. Uh-oh. Yeah.

Well, as opposed to, you know, Brady Corbett, both in his profile to me and more generally, has talked quite a lot about how much importance he gives to creative control, to having final cut. This was a theme of his speech at the Golden Globes where he won for best director, for instance. He does not wish to, you know, compromise his filmmaking ideals.

Well, as opposed to, you know, Brady Corbett, both in his profile to me and more generally, has talked quite a lot about how much importance he gives to creative control, to having final cut. This was a theme of his speech at the Golden Globes where he won for best director, for instance. He does not wish to, you know, compromise his filmmaking ideals.

Well, as opposed to, you know, Brady Corbett, both in his profile to me and more generally, has talked quite a lot about how much importance he gives to creative control, to having final cut. This was a theme of his speech at the Golden Globes where he won for best director, for instance. He does not wish to, you know, compromise his filmmaking ideals.

to make a movie that might be more palatable to studios or to audiences. For once, don't you want to see a director get up and say, I'm a complete compromiser.

to make a movie that might be more palatable to studios or to audiences. For once, don't you want to see a director get up and say, I'm a complete compromiser.