Brady Corbet

Oh, yeah, pal.

Oh, I mean, listen, on the one hand, I'd like to just say it would have been nice to have more money. I don't want anyone to get any ideas like, oh, well, they did that for $10 million, so let's try for nine on the next one. I, you know, I think that it's really just due to our collaborators. I mean, my production designer, Judy Becker, is an iconic designer behind Brokeback Mountain.

Oh, I mean, listen, on the one hand, I'd like to just say it would have been nice to have more money. I don't want anyone to get any ideas like, oh, well, they did that for $10 million, so let's try for nine on the next one. I, you know, I think that it's really just due to our collaborators. I mean, my production designer, Judy Becker, is an iconic designer behind Brokeback Mountain.

Carol, I'm not there. My cinematographer, Lil' Crawley, and I have worked together for over a decade. We have a shorthand. And most scenes are shot in, you know, one or two shots. I mean, it's shot like a 1950s melodrama. So it's mostly mediums and masters. And where you lose time is setting up a shot. It's not shooting a shot. Shooting a shot takes as long as the scene takes, five minutes.

Carol, I'm not there. My cinematographer, Lil' Crawley, and I have worked together for over a decade. We have a shorthand. And most scenes are shot in, you know, one or two shots. I mean, it's shot like a 1950s melodrama. So it's mostly mediums and masters. And where you lose time is setting up a shot. It's not shooting a shot. Shooting a shot takes as long as the scene takes, five minutes.

So, you know, I prefer to schedule things in a way where we're doing one thing very well over and over again as opposed to 13 things poorly. And, you know, I think that... that we had really great partners on this, producerially as well, that just really understood, you know, what the pillars of the film were and where we could compromise and really understood where we couldn't.

So, you know, I prefer to schedule things in a way where we're doing one thing very well over and over again as opposed to 13 things poorly. And, you know, I think that... that we had really great partners on this, producerially as well, that just really understood, you know, what the pillars of the film were and where we could compromise and really understood where we couldn't.

The film was shot on a large format that was engineered in the 1950s called VistaVision. which is essentially what it does is instead of the film being pulled through the gate vertically, it's turned horizontally so you get more neg area out of regular 35mm stock. I nodded like I knew what you were talking about, but I realized that was... I'm sure that'll probably be cut out.

The film was shot on a large format that was engineered in the 1950s called VistaVision. which is essentially what it does is instead of the film being pulled through the gate vertically, it's turned horizontally so you get more neg area out of regular 35mm stock. I nodded like I knew what you were talking about, but I realized that was... I'm sure that'll probably be cut out.

I was surprised when I got here and I was the only guest. I assumed I was the second or third guest. And this is why. Do you want to hear more about VistaVision?

I was surprised when I got here and I was the only guest. I assumed I was the second or third guest. And this is why. Do you want to hear more about VistaVision?

Your poor audience was expecting Ariana Grande.

Your poor audience was expecting Ariana Grande.

I mean, listen, it wasn't that long ago. You know, in the 1970s, movies like Midnight Cowboy were commercially viable. And I really hope that we get back to that. Our industry changed for a lot of reasons, partially because of streaming, partially because of COVID, partially because of the strikes, you know. And I understand why companies are more risk averse than ever.

I mean, listen, it wasn't that long ago. You know, in the 1970s, movies like Midnight Cowboy were commercially viable. And I really hope that we get back to that. Our industry changed for a lot of reasons, partially because of streaming, partially because of COVID, partially because of the strikes, you know. And I understand why companies are more risk averse than ever.

However, if you look at the crop of nominees this year, you know, they're really radical, strange companies. They're strange propositions, which I think should signal for everyone that audiences do want daring, original, provocative films. And, you know, I think it's very... I'm glad you agree.

However, if you look at the crop of nominees this year, you know, they're really radical, strange companies. They're strange propositions, which I think should signal for everyone that audiences do want daring, original, provocative films. And, you know, I think it's very... I'm glad you agree.

You know, I really, you know, I respect audiences and I believe that audiences, you know, are really, really clever and they're more clever than ever because there's so much information out there about how movies are made and there's an awareness of the post-production process and visual effects, et cetera.

You know, I really, you know, I respect audiences and I believe that audiences, you know, are really, really clever and they're more clever than ever because there's so much information out there about how movies are made and there's an awareness of the post-production process and visual effects, et cetera.

So, you know, they're really savvy and I think it's important that we treat them with respect.