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
Because that's a different level of just putting yourself out there.
Du verstehst, wie es funktioniert. No, but I mean, you're totally right. I mean, and look, I think that making a film, making a show, putting out an album, whatever, it's a public art project, which means that people can paint on it, they can piss on it, they can do whatever they want with it.
Yeah, I didn't think of it that way. I just worked with directors I wanted to work with.
Yeah, I wanted to work with them because I loved their movies. Yeah. Ich konnte mir nicht vorstellen, dass ich nur mit Direktoren arbeiten konnte, die ich liebte. Ich meine, großartige Schauspieler. Du wirst dich irgendwann auslösen, wenn du das tust.
Als ich angefangen habe, mich über Schauspieler zu erinnern, um wirkliche Performer zu sein, versus how I felt, because I felt sort of fraudulent. I was like, I don't know how, people were like, how was your day? I was like, I don't really know. Yeah, I think I did it. Yeah, I gave someone else raw material to work with. It was a weird thing. I didn't have a real sense of autonomy.
Aber wirklich großartige Schauspieler, ich denke, dass sie es so sehr lieben, dass sie froh sind, für ihre Rolle da zu sein. Sie sind froh, ihr Spiel zu machen. Und das ist wie... Und sie können wie Assassins sein. Wenn du mit einem wirklich tollen Performer arbeitest, ist es verrückt, zu sehen... Wie Adrian? Wie Adrian. Für mich ist Adrian wie Gregory Peck.
Like, he is like a performer of another era. Like, he, for me, even just, like, aesthetically, like, you know, he's, like, of another time. He feels like Robert De Niro. And I just think that, um... Wie in einem Tag und Zeit, in dem ein sehr anderer Art von leitender Mann auf dem Weg ist. Ich bin mir persönlich so gefreut, als Filmhörer, jemanden wie Adrian als Topliner zu sehen.
So I have this real affection for him and both him and Guy Pearce as well as Felicity Jones and Joe Alwyn and kind of like the main players on the film. They were just like Sie waren unglaublich vorbereitet, in einer Art und Weise, in der ich es mir fast nicht gewohnt hatte. Sie verpassten nicht einen Slogan. Jedes Take war schmerzhaft. Das ist Glück, wenn du im Film bist.
Es war nicht schmerzhaft auf unserer Seite. Wir hätten einen Bump in der Strecke und wir hätten Probleme. Aber der einzige Weg, wie ich diesen Film in 33 Tagen für 10 Millionen Dollar machen konnte, war, dass ich ein Team hatte. Das war so... Sie haben vier Monate gearbeitet, bevor sie hierher kamen. Und ich habe es so sehr gefreut. Ich bin wirklich so dankbar für den gesamten Cast.
It's interesting because I haven't seen The Pianist since it came out.
I think that every film I've made is really about like a post-traumatic generation. So, The Childhood of a Leader was about the six months leading up to the signing of the Treaty of Versailles after... After the First World War and sort of about the way that Woodrow Wilson inadvertently paved the way for fascist uprising. Some 20 years later, Vox was a film about
about post Columbine and post 9-11 America. What Vox and the Brutalists have very much in common is that when I was thinking about, you know, making a film on the post-war years and I was thinking a lot about post-war architecture and how it was a response to what had sort of occurred in the first half of the 20th century. I
I was thinking about, you know, Mies van der Rohe like walking into like, you know, like Lucille Ball's living room and I love Lucy and like presenting like his concept for his space. And I was like, that's like very, very radical. And I just think that like, you know, what's interesting about the 1950s is
is that like the American sitcom was very much in response to sweeping under the rug everything that had occurred just a few years earlier. And Vox for me was about how Real Housewives of New Jersey was sort of a response to that as well. Like it's sort of about like the new culture is this thing, which, you know, is... It seems to be...
It seems to be really sweeping under the rug what's occurred just a decade earlier. And trying to make light of a very disturbing moment in time. Yeah. Narzissismus und Solipsismus, das ist definitiv unserer Ära. Ja. Und natürlich ist es so, weil wir sonst etwas sehr Wichtiges machen würden, über Kinder, die anderen Kindern in den Gesicht schießen, auf einem täglichen Basis. Ja.
Ich meine, jede Woche. Ja. Ich meine, ich kann dir nicht sagen, wie viele Festivalprogrammierer und so. Sie würden zu mir kommen, und am Anfang des Films, bevor der Film begann, und sie würden sagen, hey, Can you just give a trigger warning to the audience? Because they think they're coming to see a film about a pop star, but it opens with a school shooting.
And I was like, no, that's sort of the point. The point is to not make them aware. Those kids didn't get a trigger warning. Ja, genau. Und ich dachte mir, das passiert, weißt du, hundertmal im Jahr. Ich meine, so viel, dass es nur als Massenmeldung qualifiziert, wenn drei oder mehr Menschen tatsächlich getötet werden. Ja. Vergiss es über die Verletzten.
Wenn sie nur verletzt werden, für den Rest ihres Lebens, dann macht das nicht die News.
I mean, it sort of started actually with Marcel Breuer, who, you know, for context, Walter Gropius, you know, had him positioned at a university in the US after the Bauhaus was shut down by the Nazis in 1935. In reality... There were zero examples of anyone that got stuck in the quagmire of the war, certainly that survived the camps, and then went on to have a career in the 1950s.
That didn't happen. I consulted a specialist to ask them that question specifically, a guy named Jean-Louis Cohen. And I said, because I wanted to make sure that if we were going to tell this sort of virtual history, that there was no overlap with any existing person. And there wasn't.
Showing 81–100 of 155 · page 5 of 8
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