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
And fortunately, you know, we have an amazing relationship and we FaceTime constantly, even when I'm away and stuff, but it's not the same. And I can't I don't know if eight years of torment is worth, you know, four months of success. Like, it's hard. I don't know that that's a very difficult thing to qualify.
No, no, no. I mean, look, I also, I pose the question almost rhetorically. There's a possibility, you know, I don't think I would do things a different way. Cinema for me is like a cathedral. And it's something that I very much worship at the altar of for whatever fucked up reason. Yeah.
Aber ich mache es, wenn ich älter werde, wenn ich, wenn ich, weißt du, wenn du älter wirst, beginnst du, an die Leute zu sagen, weißt du, ich meine, die Leute fallen tot. Ja. Und ich denke, dass du deine Zeit anders wertest. Und ich denke, dass du verschiedene Prioritäten hast.
Und ich denke definitiv, dass es bestimmte Zufriedenheiten gibt, die ich vor einer Dekade gemacht habe, die ich heute nicht machen konnte. Weißt du, als du älter wirst, kannst du nicht mehr auf den Couchen des Menschen schlafen. Ja. Es ist wie das seltsame Ding. Ja, ja.
Aber ich bin auf der Straße und ich bin einfach... Ich werde ziemlich fasziniert.
When I had my daughter, you know, my partner and I, we were like a circus family. We slept on so many couches and so many spare bedrooms and... I think the three of us slept in twin beds and stuff. And now it's just fucked us up.
Yeah, I think that as soon as I get a little bit of sleep, honestly. I've been on a world tour for so long, and I think that the Oscars are on March 2nd. Are you excited? Yeah. I'm excited for it all to be over. I really am. I don't have... I'm really also excited about the foundation that it has helped my team and I build to make our work more sustainable. You are freelance for life.
And I don't... I don't expect this to completely change my whole world because the reality is that most people don't remember who won something a year ago or two years ago, literally. Until the lists come out. Yeah, but what's cool is that... For the next 365 days especially, we can use this sort of boost, this jolt of energy and attention to build a stronger foundation for the next project.
And I think that ultimately you're always just, you know, like looking towards the next gig.
Ja, das mache ich. Und ich arbeite schon lange daran. Und ich freue mich darauf. Ich freue mich darauf, etwas ganz anderes zu machen. Und es ist auch ein sehr anderer Zeitpunkt der Weltgeschichte. Es wird schön sein. Welcher Zeitpunkt? Es dauert 150 Jahre. Das ist ein ziemlich großer Akt. Ja, es ist nicht, die Mehrheit, würde ich sagen, der Film ist, es wird in den 70ern stattfinden.
Oh, das ist ein guter Zeitpunkt. Ja, ja, es ist, es wird, ich habe es vorher gearbeitet, aber es ist ein bisschen über amerikanische Mystik und viele Dinge, die ich ein bisschen fasziniert bin.
I'm very grateful for that. Thank you.
Probably a little bit of both. Yeah. Yeah, I mean, the character is an amalgamation of a lot of, you know, real historical figures like Marcel Breuer, Mies van der Rohe, Lachlan Moholy-Nagy, and many others. So it should, you know, evoke a real person. I think that's a positive thing.
You know, in all seriousness, during Trump's first term, before we had a brief intermezzo... Yeah, you're talking about a billion years ago, way back then? He had a mandate that was called, you know, Make Federalist Buildings Beautiful Again. He's creative. And, you know, it's interesting that 75 years, you know, on, you know, since the term brutalism was coined, it's still so divisive.
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.
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.
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.
Showing 121–140 of 155 · page 7 of 8
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