As a seasoned cinephile with a penchant for unraveling the intricacies of cinema, I find myself captivated by Brady Corbet‘s unique perspective on filmmaking and architecture. His insightful comparison between these two seemingly disparate fields not only resonates with me but also sheds light on the complexities and compromises inherent in both worlds.
Filmmaker Brady Corbet views little distinction when it comes to designing a skyscraper versus creating a film.
Corbet notes that his latest film, ‘The Brutalist,’ shares numerous parallels with various aspects of Hollywood. Just as architects often face constraints from clients, this movie illustrates the sacrifices creatives must make in their respective fields. The complexity and scale of operations in both industries are substantial, necessitating a vast workforce. Moreover, he points out that there aren’t many artistic forms where so many individuals have input.
The film ‘The Brutalist’ focuses less on cinematic storytelling and more on creating architectural masterpieces. However, its narrative appears to be influenced by Corbet’s own artistic and commercial journeys. The main character is László Tóth, a Hungarian-Jewish architect (played by Adrien Brody), who migrates to America following his internment at Buchenwald. His journey crosses paths with Harrison Lee Van Buren (Guy Pearce), a flamboyant industrialist, who tasks him with constructing a minimalistic community center. Tóth, despite the toll on his emotional, physical, and financial well-being, remains steadfast to his initial vision for the building, even if it means relinquishing his fee. On the other hand, Van Buren is more concerned with wielding power.
Corbet muses over his coffee at a local eatery near his Boerum Hill home, stating, “The bond between a patron and an artist can be twisted,” he remarks. “Mostly, there are kind-hearted patrons and firms that act honorably, but that’s not the norm. Typically, it boils down to asking for more work at lower costs.
Corbet, aged 36, has an in-depth understanding of the film industry, having spent his childhood years working on film sets as a child actor. Despite collaborating with esteemed directors like Michael Haneke on “Funny Games” and Gregg Araki on “Mysterious Skin”, he always felt uneasy in front of the camera. He admitted, “I was self-conscious. I never knew if I had delivered a convincing performance.
As he reached his twenties, he shifted from being in front of the camera to becoming a director, creating two independent films: “The Childhood of a Leader” (2015) and “Vox Lux” (2018). The former delved into the early years of a potential fascist, while the latter focused on the professional journey of a pop star. His earlier works were generally impressive and sometimes brilliant, but “The Brutalist” signifies a significant leap forward in his career.
The movie titled “The Brutalist” was widely praised as exceptional upon its premiere at the Venice Film Festival, with some likening its profound exploration of capitalism to that of “There Will Be Blood.” A24 has acquired the film and intends to make a significant bid for Oscars. Regardless of whether it becomes an awards season sensation, “The Brutalist” undeniably ranks among the most daring independent American films of recent or even past decades. Spanning three and a half hours, it narrates a tale that unfolds from the pinnacle of postwar American power to the Reagan era. Additionally, it was filmed in VistaVision, an old-school large-format technique popular in the 1950s, allowing it to be projected in 70mm like classic cinematic epics. Notably, it was produced for approximately $10 million – a fraction of what a big studio film typically costs.
In Corbet’s words, “We spared no expense, ensuring every penny went towards the final product. It required tremendous effort, something I wouldn’t advise others to do, as it amounted to several years of effectively working without pay.
For seven long years, Corbet tirelessly worked to secure funding, but the project repeatedly fell apart. At various points, COVID restrictions forced a change in shooting location from Europe, while war in Ukraine prevented filming in Poland due to its border proximity. The production was eventually set up in Hungary, with post-production occurring in the U.K. to capitalize on tax incentives. This process kept Corbet away from his family for 22 months as he has a 10-year-old daughter with Mona Fastvold, his partner and co-writer of the film.
Corbet mentions that his upcoming film will likely be shot overseas, but the post-production must take place here. This is a firm requirement for him, as otherwise, he won’t be able to witness his daughter growing up.
Regardless of the difficulties, Corbet didn’t envision creating “The Brutalist” with a large budget. He never found himself wishing for an additional $30 million, as there are many strings attached to that kind of money. It attracts numerous opinions, and you end up with a multitude of executives second-guessing the director and overwhelming them with suggestions. The result is often sterile and lacking personality, much like a mass-produced bowl from Crate & Barrel compared to a unique wabisabi ceramic piece.
Much like the divisive architectural style suggested by its name, “The Brutalist” film can be seen as controversial, yet undeniably reflects the vision that Corbet aimed to achieve.
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2024-10-03 17:17