Brady Corbet

And it's interesting because for me, I really feel that post-war psychology and post-war architecture are intrinsically linked. And, you know, this film is, that's what it's mostly concerned with.

Well, you know, listen, the Bauhaus was shut down by the Nazis in the mid-1930s. It was predominantly Central and Eastern European Jewish architects and designers that were studying there. And so, you know, it... The mid-century design, you know, it mostly came from immigrant architects. And of course, there was a response to a lot of those buildings and those monuments, which was hypercritical.

Well, you know, listen, the Bauhaus was shut down by the Nazis in the mid-1930s. It was predominantly Central and Eastern European Jewish architects and designers that were studying there. And so, you know, it... The mid-century design, you know, it mostly came from immigrant architects. And of course, there was a response to a lot of those buildings and those monuments, which was hypercritical.

And because the style of architecture was so unfamiliar, you know, communities wanted it torn down and they wanted their new neighbors thrown out.

And because the style of architecture was so unfamiliar, you know, communities wanted it torn down and they wanted their new neighbors thrown out.

Yeah, I mean, listen, I mean, it's two brilliant performers in that scene, Alessandro Nivola and Adrian Brody. And the screenplays are very, you know, precise, mostly because they have to be. The film was shot in 33 days. And because the film was 170 pages long, it wasn't, you know, that much time.

Yeah, I mean, listen, I mean, it's two brilliant performers in that scene, Alessandro Nivola and Adrian Brody. And the screenplays are very, you know, precise, mostly because they have to be. The film was shot in 33 days. And because the film was 170 pages long, it wasn't, you know, that much time.

And so, you know, we don't storyboard mostly because I don't want to adhere too closely to a cartoon. But I want to show up to a space, respond to it, see what, you know, the light is doing, what the performers are doing. And, you know, I just told him I think it would be extremely moving if the two of you are very, very, very physical and very intimate together because, you know,

And so, you know, we don't storyboard mostly because I don't want to adhere too closely to a cartoon. But I want to show up to a space, respond to it, see what, you know, the light is doing, what the performers are doing. And, you know, I just told him I think it would be extremely moving if the two of you are very, very, very physical and very intimate together because, you know,

You know, when you see your uncle or your father, you know, the patriarch, when they cry, it's like devastating. You just feel shattered by it because you see it so infrequently.

You know, when you see your uncle or your father, you know, the patriarch, when they cry, it's like devastating. You just feel shattered by it because you see it so infrequently.

So I just thought to see these two, you know, men approaching middle age sort of being that, you know, letting their guard down, especially in the late 1940s because they just can't help themselves because they've missed each other so much. I thought it was quite beautiful.

So I just thought to see these two, you know, men approaching middle age sort of being that, you know, letting their guard down, especially in the late 1940s because they just can't help themselves because they've missed each other so much. I thought it was quite beautiful.

Yeah, that's true. You know, I grew up as a performer for years, and I'm sure you've been in this position at some point in your career where you're preparing 13 pages of dialogue.

Yeah, that's true. You know, I grew up as a performer for years, and I'm sure you've been in this position at some point in your career where you're preparing 13 pages of dialogue.

Well, you know, but I always think about, you know, you know, dozens and dozens of people's lives that are affected by preparing this material. And usually in the first 15 or 20 seconds they walk in the room, you know whether or not they're right for the role. So I never I want to be respectful of everyone's time. And I only ask people to read more material than that.

Well, you know, but I always think about, you know, you know, dozens and dozens of people's lives that are affected by preparing this material. And usually in the first 15 or 20 seconds they walk in the room, you know whether or not they're right for the role. So I never I want to be respectful of everyone's time. And I only ask people to read more material than that.

If it's really on the fly, like we're doing a cold reading together, especially with kids, you know, kids don't have a prior body of work for you to reference. So, you know, that process is a bit more significant. But you usually know after a page or two of dialogue, you know, at a maximum. And in general, I just avoid it altogether. We just, you know, make offers to actors we like.

If it's really on the fly, like we're doing a cold reading together, especially with kids, you know, kids don't have a prior body of work for you to reference. So, you know, that process is a bit more significant. But you usually know after a page or two of dialogue, you know, at a maximum. And in general, I just avoid it altogether. We just, you know, make offers to actors we like.

Oh, yeah, pal.