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.
Trend
recordings per month · last 12 monthsNo recordings in the last 12 months.Older appearances are listed below; set an alert to hear about the next one.
Appearances
There's a lot of noise. I mean, it's sort of like it's like it's like a vinyl, you know, like, you know, I think that's it.
Yeah, the childhood of a leader, Vox, and the Brutalist, were all shot by the same cinematographer. And, you know, he and I had... One of the reasons that we sort of continued to collaborate is because we, I think, you know, we really think about making pictures in the same way. Right. And we realized that when we met each other, you know, that we were... Das ist richtig. Ja.
And then, you know, it got sort of sanded down. Well, they tried to perfect it. Or whatever that means within the relation. Absolutely. And the other thing is, is that it was a quality of image that I think that executives understood. Because it was uncomplicated. It was just pretty. And also easy to fix images. Yeah, easy to fix, easy to change. Right, that's what I mean, yeah.
Yeah, no, of course. I mean, look, I have very complicated feelings about television today. It's frequently described as a writer's medium. I would describe it more as an executive's medium. And that is because there are so many keys that have to turn. And think about it. It's because it's expensive. I mean...
If you are, you know, making something which is, let's say, between one and ten million dollars an episode on any scale, it is much more expensive than a film. And so, you know, people feel especially entitled to sort of... Ja. Ja. You know, Bird on a Wire, Fanny and Alexander. I mean, these were all made for TV, so I don't have a problem with television. You know, I love Curb Your Enthusiasm.
I think it's a masterpiece. I'm not punching down. I just mean the reality of the reality. But those are guys that had total control. Aber das ist genau, was ich meine. Jedes Mal sind es diese Künstler, die etwas machen können, das nicht gebaut war, um sie zu unterstützen, für sie zu funktionieren. Und ich liebe das. Ich bin sehr unterstützt von dem.
Ich will klar sein, dass ich kein Problem mit der TV habe. Mein Problem ist, dass ich in der Filmindustrie genug gearbeitet habe, dass ich verstehe, wie diese Dinge gemacht werden. Und es gibt einen Grund, warum ein TV-Show rarely the same cultural impact as a film has.
Oh, du meinst Sean Durkan.
Ja, ja, ja.
Ja, nein, es ist eine interessante Sache. Ich meine, bei den PGA-Awards mit der Producers Guild, die nachts vor dem letzten Tag war, gab es eine Rede, die ich ziemlich unerlässlich fand, wo...
Someone that was, I don't know who it was, but someone was accepting a prize and they essentially said that they don't buy into the authorial concept that they said, well, this is a collaborative medium, you know. Das bedeutet, dass es nicht ein Writers-Medium war, es war kein Direktors-Medium, aber bei den Producers Guild Awards war es ein Producers-Medium.
Und obwohl ich eigentlich denke, dass das wahr ist, ich meine, das ist das, was ich gerade gesagt habe, habe ich es unerlässlich gefunden, dass jemand tatsächlich darüber nachdenkt. Zuerst.
Well, it's a different, it's actually a totally different thing. So, like, I have an extraordinary producer that I love. Yeah. Who has a very different skill set than I do. Yeah. And, you know, we have different... Ambitionen. Ich will meine Filme machen und ich denke, er will die Status quo völlig ändern. Er hat eine Ambition, die größer ist als ein Projekt.
Er will die Kultur ändern, weil er frustriert ist mit der Art und Weise, wie die Dinge jetzt funktionieren. Oder aus seiner Perspektive, die Art und Weise, wie die Dinge momentan so nicht funktionieren. Und ich denke, das ist sehr interessant, weil er natürlich viele, viele Projekte über den Laufe seines Lebens machen kann. Du kannst viele mehr Filme produzieren als einen Film zu einem.
Ich kann nur einen Film zu einem machen. Ja. Maybe if I'm lucky, I make 7 to 12 films in my lifetime. And so this is just to say that... You know, I'm always disturbed by anyone who does a job that wants to be doing a different job. Like if you meet an editor that wishes they were making the movie, that's not great. Yeah, because then he's making a reel.
Yeah, or if you want your costume designer to be passionate about costumes because they're bringing an expertise to the table that you simply don't have. Yeah. Und wenn du einen Film machst, kreierst du eine Erfahrung, die hoffentlich gut gehen wird.
Es ist eine lustige Sache, weil ich auf der einen Seite wirklich glaube, dass, wie ein Novel, du willst kein Novel, das von 25 Leuten geschrieben wird. Du willst ein Novel, das... Ich will kein Novel mit 25 Leuten in es. Genau. Well, that rolls out the Russian canon.
But there's a, you know, in all seriousness, I think what's so strange is that on the one hand, I'm the first to admit that it is a completely collaborative media. And this is the reason that COVID, no good films came out of it. Nobody was in their house with their iPhone and made a masterpiece. That didn't happen. I watched a lot of people who tried. It didn't work.
I just did Instagram Lives and that seemed to keep me going. But I think that, you know, but on the other hand, You do sort of need a captain of a ship. And I've worked for a lot of different captains. And I still work for different captains. You know, like I direct second unit for people and I write screenplays for other directors. And I, you know...
At the end of the day, like somebody needs the tie break, like somebody needs, you know, to be like, look, you know, this is my project. I assume the responsibility. I sink with the ship. I sail with the ship, you know, and that's the only way that it works, because otherwise it just results in a lot of indecision.
Showing 41–60 of 155 · page 3 of 8
← Previous
Next →