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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Because the film was sort of, for me, it was, we always talk about the lives lost, of course, but there were also the livelihoods lost. And I... I... While, you know, going through the Bauhaus archives, looking at all of these unrealized projects. Right. It was so... It was devastating. Like, I felt really devastated about it. And...
I just thought about all these young visionaries that must have felt so exhilarated about the potential of the future. And then they had everything taken from them. And, you know, I just found it really, really profoundly upsetting. And I felt that the... Ja. Ja. And the film is working on several levels, of course.
It's a 1950s melodrama with a capital A antagonist that could rival Joseph Cotton or James Mason. And it also has the bluntness of a 1950s melodrama. And it was not constructed... Ja. Ja. And I was constantly like thinking, you know, like, oh, well, what would Douglas Sirk do? And that was sort of, I think, our guiding light through the process.
But of course, it's investigating very contemporary issues and those themes are universal. I mean, beyond, you know, the fact that our character and characters are Jewish and And their Jewishness, you know, is they all have a different relationship with. I mean, the youngest girl is clearly quite conservative or becomes quite conservative.
Whereas, you know, Adrian's character, I think, is is ultimately more consumed with, you know, his his body of work and his own ego. Like there's not enough space for for for a higher power.
Yeah, well, it was about the way in which the immigrant experience and the artistic one, for me, are very similar. Which is to say that, you know, an artist is fighting for the right for their projects to exist. You know, the immigrant is fighting for their right for their family to coexist. And I find that, you know, like the first chapter of the film, part one, takes its name from the V.S.
Naipaul book, The Enigma of Arrival, which is a memoir that he wrote. von Trinidad nach den USA, wo er 20 Jahre lang in Stonehenge gelebt hat. Und eine der Gründe dafür, dass es solche Kursen im Film gibt, sind die Signale. This is something that is bigger than one minority. It is something which is acknowledging all minorities and certainly all artists.
And it's the reason that every character in the film has... Backstory. Part of the reason that the film is as long as it is, is that there are no peripheral characters. They all kind of matter. They have a meaningful sequence in the film. And to create that space for those characters, it just kind of adds up to being over three hours long.
But what's funny is that I also think it's much more immersive and I've never... I truly haven't had anyone complain about the length once they've seen the film. I've had many people griping about it before they watched the movie.
Yeah, it moves. It moves in a clip. It really does. But I also think that when you're taking up that much space, you really feel like, okay, we gotta get the show on the road. I certainly felt that editorially. I didn't feel that I could indulge very much. Because I too had to watch it. Not only did I have to watch it, but I had to watch it over and over again.
Ich glaube, ich habe den Film von Anfang bis Ende vielleicht über 60 Mal gesehen. Das sind viele Stunden. Ja, es war wirklich etwas. Ich habe so viele Prints gesehen, auf 35 Millimeter, auf 70 Millimeter, auf der DCP, die IMAX-Version. Ich meine, jede Version muss von dir und deinem Team überprüft werden. Und normalerweise ist etwas falsch, also musst du es dann wieder sehen.
Und dann wieder und wieder. Und ich habe also definitiv eine Dose meiner eigenen Medizin bekommen. Und ich verstehe, dass die Zeit der Menschen wertvoll ist. Ich meine, es war keine Möglichkeit für mich, sie auszuschalten. Zumindest kann jeder noch rausgehen, wenn er sich nicht fühlt.
Oder nicht zurückkommen.
Ähm, nein, ähm, es war definitiv, äh, äh, squeaky wheel gets the oil. Ich meine, das war offensichtlich top of mind. Also wir haben das für jeden einzelnen Tag unserer, unserer Präproduktionperiode, ähm, zwölf Wochen. Ja. Ähm, du weißt, es wurde in einer sehr alten Art und Weise gemacht. Ähm, wir haben ein praktisches Modell gebaut. Ja. Ähm, Star Wars-Style. Ja. It was enormous.
It wasn't as big as the building is in the film. But you had real texture, real light, real shadow. That's part of the reason that it looks as good as it looks. We also built a big portion of the institute to scale so that you would have certain shots that really basically the front of the building actually existed. Und dann haben wir es digital gestaltet mit unseren praktischen Modellen.
Wir haben Techniken aus einem Jahrhundert hergebracht und sie mit den Techniken von heute kombiniert.
Yeah, yeah, exactly. Well, I think, I mean, that's totally right. I mean, that's my incredibly perverse sense of humor that you've sat there for three and a half hours and then you actually never see them turn the lights on. But that is the creative process. The creative process is generally disappointing. So I think it really is. It's like you have like, you know, you constantly are like,
Is it worth it? After a certain point. I don't know. I don't know that it was worth it. I'm not sure. The film was made over the course of seven years. By the time I'm done with this promotional campaign, it will have been eight years. Ich habe definitiv, wie du weißt, Jahre meines Lebens sind erodiert worden als Folge des Stresses, des Films zu machen, des Schutz der Flamme des Films.
Und, du weißt, ich kann nicht, auch wenn der Film war, wie du weißt, hat, hat, hat so beeindruckend und, und, und letztendlich sogar kommerziell verfügbar, was kind of amazing doing all right. Yeah, I made 25 million dollars. I mean, it cost 10. You're good. Yeah, I'm good. I cleared the hurdle. And now you're just waiting for your check? Oh, God, I wish. I wish that's how it worked.
This is not how it works. The waterfalls are so fucked up. Everyone gets paid back 17 times over before you make a dollar as its creator. It's amazing. Yeah. But no, I just, I do really wonder, like, my daughter's ten and a half years old and I missed out on a lot in the last few years to make the film.
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