Brady Corbet
speaker
155 appearances
2 recordings
2 series
first heard Feb 2025
last heard Feb 2025
Brady Corbet’s voice in public audio — every appearance, attributed to the second.
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Appearances
It just so happened that a handful of them were extremely brilliant, including Scott. It's wild, right? Yeah, and if you listen to the albums, what's interesting is that Auch die Poppieste von Pop-Songen, es gibt immer ein bisschen Dissidenz, es gibt immer ein bisschen Discord, es gibt einen seltsamen atonalen Zustand.
Und ich denke, was so erstaunlich ist an seinen Alben, insbesondere als er für große Labels arbeitete, ist, dass er einen Weg gefunden hat, was er macht oder was er macht, innerhalb dieses Systems. Und weil natürlich ein Exekutiver, besonders damals, would never be able to really call out the fact that there's an atonal sustain. It's very specific. They're looking for the hook.
And the hooks were there. But what's funny is that he was quite... Yeah, I mean, he was a perfectionist, so I think that, like all of us, you know, we all, you know, I think, you know, I think it's human nature... We all wish that we had a perfect record. But like that's not how it works.
But I also, I don't even think that, you know, you believe it. I think that you know it. I think that you listen. There's, there's, it's an organized chaos. And I'm very interested in this specifically, you know, like I, I mean, for, for me, I. I always feel that when I'm watching something, you know, in this day and age in particular, everything has been so sanded down.
I mean, there's so many cooks in the kitchen that essentially what you end up with is like airplane food. Like it's built to just, you know. Kind of look like it's supposed to. Yeah, like it's sustenance.
I think that I was an only child, a single mother. Where were you? In Arizona? I was born in Arizona. I was raised in Colorado until I was 12.
Yeah, we're both from the southwest. But I also During that period, because my mother was working a lot, we traveled a lot. What did she do? At that time, she was working at a company that was sort of an offshoot of Fannie Mae. Insurance? No, mortgages. She was working in the mortgage industry. She got laid off in 2008, when everyone got laid off. Then she had to sort of start her life over again.
But yeah, I mean, how I sort of fell into the film business is a long story, not a very interesting one, but at that time in what was, I guess, the early 90s, the way that Really? Never heard that. Yeah, so I grew up with a lot of child actors, but they were all from this valley between Aspen and Vail.
And it's because there was a casting director that was based there, that was affiliated with Joanna Ray, the casting director of David Lynch. And Joanna Ray actually cast me in Funny Games, the Michael Haneke film. Um, when I was 17. So it was this kind of strange thing where like somebody would be like based in, you know, Tallahassee or it's crazy. I've never heard that.
And I've talked to a thousand people. Yeah, no, it's a really, it's a weird thing. I, I, I know, I certainly know a lot of other child actors that come from like small, small towns. And the way that it started for me was that I was a cinephile from a really young age. Who turned you on to that? Ich war in den Comic-Büchern. Ich habe keine... Ich habe in den Turner-Klassik-Filmen gewachsen.
Und meine Familie liebte Houdanits. Und ich denke, dass... Also das führt dich zu Joseph Losey und Hitchcock.
Yeah, I definitely, I liked what I liked from a young age. But, you know, by the time I would say I was, you know, 11 or 12 years old, I also was really just, I liked alternative everything.
Well, what's interesting for my daughter, my daughter is ten and a half years old. And I am under the impression that like looking for an alternative is not something, you know, which is like cool. Anymore? Yeah, and I think that the pendulum will probably swing back in another direction eventually. But like the reality is that right now, like if you ask anybody, Ja. Exactly, exactly.
You're like, what the fuck is this? Yeah, absolutely. No, 100%. But I mean, like, you know, I loved Fugazi. I loved, you know, I mean, in terms of the artists of that era. And Scott Walker in the 90s was the alternative to the alternative. Right. I mean, and so you couldn't at that point go much deeper than that. Someone had to hip you to it. Yeah, but I don't know who. Oh, really?
Yeah, I think that in all seriousness, I just think that from reading a lot, listening to a lot, one thing just kind of led me to another.
Oh, 100 Prozent. Nun, ich meine, Leute fragen mich ständig, weißt du, wer meine Einflüsse sind. Ja. Aber die echte Wahrheit ist, dass, zuerst einmal, es so viele gibt, dass ich nicht wissen würde, wo zu beginnen. Und zweitens, sie sind nicht Filmmacher. Nein. That's not really the well that you drink from if you're making something because you know better. Was it music and writers?
Yeah, absolutely. Painters? In the production office it's mostly paintings and photographers that are on the wall. And it's just, you know, I mean... Es ist eine verrückte Sache. Ich arbeite mit einigen Filmmachern in meinem Leben, die eine bestimmte Szene in einem Film bezeichnen, aber es scheint etwas kurzfristig.
Ähm, ich meine, ich würde sagen... Rothko-Guy? Nein, ich liebe Rothko, aber es war nicht auf meinem Kopf. In der Tat, nein, es ist mehr die Chiatoschiro-Dinge, wo wir, wenn wir schießen, wirklich versuchen, die Qualität eines Goya zu erreichen. Das macht Sinn. Epic fast. Well, it's also just the balance of light and dark with an emphasis on the darkness.
We really torture the negative so that essentially it even has the texture of a painting. Especially now where everything kind of looks like Apple Plus.
Yeah, you absolutely do. I mean, you can shoot, if you expose negative properly. Yeah. And you don't push it and it's just, then it can just be very clean and sort of, it can be sort of what the Alexa and the red cameras have sort of tried to emulate. Right. But there is all of this latitude where... You can achieve something with the quality of the image, which is where it really is.
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