As a film enthusiast with a deep appreciation for both acting and directing, I find the journey of these two talented individuals truly inspiring. From humble beginnings in small towns to working with some of the most renowned directors in the industry, their stories are a testament to the power of persistence and faith in one’s craft.
Any indie filmmaker would agree that taking a movie from concept to screen, including financing, production, and distribution, feels much like scaling a towering mountain. Major setbacks, like rockslides, aren’t usually encountered along the way.
Brady Corbet faced an unavoidable challenge while finishing his ambitious and surprisingly low-budget film, “The Brutalist,” which runs for over three hours and was made on a budget of just $10 million. The elaborate plot revolving around a Hungarian architect and his arrogant benefactor necessitated shooting in the marble quarries of northern Tuscany, an area where frequent rockslides frequently alter the terrain.
Corbet exclaims to his friend Sean Baker, the creator of this year’s Palme d’Or winner “Anora”, that Mother Nature seems displeased. Baker is accustomed to outwitting natural forces to bring his low-budget independent films (such as “Tangerine”, “The Florida Project” and “Red Rocket”) to the public. For “Anora”, a story about a determined sex worker’s tumultuous relationship with the son of a Russian oligarch, he had to resort to acquiring, borrowing, and taking whatever resources were available to complete the project. This meant casting individuals without acting experience for crucial roles, scavenging diners in Coney Island, and capturing stealthy footage of New Yorkers in their natural habitats.
In a recent chat in Los Angeles, the two seasoned independent filmmakers shared their war wounds from the long journey of bringing heartfelt projects to the big screen.
Sean Baker: Brady, you mentioned that working on “The Brutalist” proved more challenging compared to your prior feature film, “Vox Lux,” despite having a larger budget.
Brady Corbet: “Vox” was produced in a typical American fashion. It’s amusing that despite both films having approximately the same total budget, we had significantly more resources to invest in “The Brutalist” due to its superior financial framework.
Baker: I find it necessary to leave this country soon. The cost of filming is exorbitant, and the challenges are immense.
Corbet: I know.
Baker: This time in New York, I managed to film discreetly and economically using guerrilla indie methods. I put all the funds onto the screen by making, borrowing, or acquiring resources creatively. However, I’m unsure how sustainable this approach is. It takes a toll on everyone involved.
Corbet: By the time I completed “Vox,” we had a blueprint for “The Brutalist.” I told my wife, “There’s no chance we’ll film this in America.” On “Vox,” I saw money being wasted on unnecessary things. “The Brutalist” is set in Philadelphia during the late 1940s. … I required a location that resembled Kensington, with many factories and warehouses. Hungary has an appealing texture – there are cobblestone streets and peeling paint everywhere.
Baker: It feels stuck in time.
Corbet: The crews are simply outstanding! Plus, we have not one but two film labs here, making Budapest an ideal location for us. The benefit is that we can select between two labs, which allows us to shoot on celluloid more conveniently as we don’t need to send our negatives across the border.
Baker: Where did you shoot the marble sequence?
In Carrara, the city where all pure white marble originates, we filmed. This is the same quarry where Michelangelo sculpted the Pietà. It’s a breathtaking yet perilous location, as Mother Nature seems to be in a constant fit of anger due to the frequent rockslides. The film, “The Brutalist,” explores the theme of attempting to possess that which cannot truly be possessed. A character, played by Guy Pearce, seeks to own not just the artwork of Adrien Brody’s character, but also the artist himself. However, there’s a sense of discomfort in using Carrara’s precious resources for everyday items like bathroom and kitchen fixtures. We spent about two to three days shooting at this remarkable location.
Movie Reviewer: As I settled into my seat for “Anora”, I was aware that the film clocked in at an extended 2 hours and 20 minutes. With just under two weeks left before release, we had to secure pre-sales to ensure the production could go ahead smoothly.
Corbet: An international presale?
Baker: Yes, indeed. I agreed to a deal where I promised to submit the movie by 2:10 p.m., which was tough because I knew I was being dishonest when I put my signature on that contract. It wasn’t fair since it made me carry that anxiety for over a year. Eventually, I managed to complete a two-hour long film, but I couldn’t possibly finish it in just 10 more minutes. They said, “Don’t worry, just make a great movie and if it’s good enough, there won’t be any issues.
Corbet: By what metric?
Baker: Never, ever again. I would rather not make that film than deal with the stress.
Corbet: At times, responses from a broad public seem quite business-oriented to me. Instead of focusing on whether a film was excellent, they discuss its box office earnings. This strikes me as odd because when I was younger, I wasn’t aware of a movie’s box office revenue. It simply didn’t matter. Throughout my life, I have cherished numerous films that weren’t blockbusters but rather had a lasting cultural influence and have stood the test of time.
There’s a very capitalistic attitude here. “Yippee! Let’s celebrate the massive box office success and criticize the flop.
It’s similar to the newly elected president discussing the number of people he managed to gather in a stadium, or any comparable venue.
Baker: Absolutely. It’s a challenge for emerging filmmakers today, as they face stiffer competition than I did when I was starting out. The door was closing behind me, yet I managed to find my way in. If I had to struggle through the present-day industry to get my films noticed, it would be incredibly tough. When young filmmakers ask for advice, I hesitate because I’m still figuring things out myself, but I tell them if they’re creating quality work, they will eventually gain recognition. It may take 20 years, but maintaining perseverance and faith in the value of your work is crucial. You might have noticed that I was introduced to you as an actor. As for your question about my transition from acting to directing – yes, I had a sense of it while working on sets with directors like Lars von Trier, Michael Haneke, and Gregg Araki. Those experiences ignited my passion for filmmaking and led me to pursue this path.
Corbet shares an account of his journey: Born into a single-parent household in a small town, which happened to be a popular location for national auditions before the era of Windows 95 and the internet. The town was one of several spots where they searched for actors to play roles like young Ethan Hawke. Other locations were Tallahassee, Dallas, or Glenwood Springs, Colorado in his case. Growing up amidst child actors such as Hanna Hall, who became famous for her role as the girl shouting, “Run, Forrest, run!” in “Forrest Gump,” he was content to serve as a waiter if the project truly mattered to him. He didn’t create his first film, “Childhood of a Leader,” until he was 24 years old. At that point, he recognized that to get the movie made, he had to concentrate solely on it. Now, he understands clearly that this line of work doesn’t allow for part-time commitment.
Baker: 100%. I can’t creatively juggle.
Corbet: I want to know about the way you cast movies.
Baker: My wife, Samantha Kwan, and I often collaborate in casting. It’s no longer just about random street casting for me. I have direct connections to agents, which is quite beneficial. I always keep that connection active. Suzanna Son, who was discovered in “Red Rocket”, caught our eye while we were at the ArcLight Cinema. We had just finished watching a movie, and she stood out among the crowd like a beacon. There were around 50 people there, but her radiance was undeniable. We felt an immediate urge to approach her right away. This process has become smoother for me as my filmography expands, especially since I’ve produced “The Florida Project”.
Corbet: Totally. You’re not like a creeper anymore.
Baker: Yeah.
In a Different Wording: During the production of “Childhood of a Leader,” I often approached parents, stating, “Your son is quite striking. He could be ideal for my film.” Not exactly a winning introduction.
Baker: Indeed, I’ve found myself in similar predicaments when my supporting actors abruptly left. For instance, we collaborated with an actress from “The Florida Project” for a day, only for her to vanish afterwards. She was meant to appear in more scenes, but she unexpectedly became absent. As a result, I had to adjust the role’s importance, yet she still managed to make it into the movie’s trailer.
Corbet: We could do this forever.
Baker: I love “The Brutalist” so much, and I can’t wait to see it again.
Corbet: I’d like to extend my heartfelt congratulations to you and the whole team behind “Anora”. It truly is a piece that makes us all feel a sense of pride, and I’m genuinely sincere about it.
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2024-12-19 21:19