Brady Corbet

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.

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.

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.

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.

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.

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.

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...

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...

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.

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.

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.

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.

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.

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.