Director Brady Corbet discusses his latest film, 'The Brutalist,' a 215-minute epic that tackles themes of art vs. commerce, legacy, and the American Dream.
Director Brady Corbet , here in Toronto on Dec. 17, says all of his films are virtual histories: 'It’s to free myself of the responsibility to quote-unquote the truth.'should not add up. You simply cannot shoot a 168-page screenplay over just 34 days with a budget under $10-million, and expect anything less than a mess.
And yet the 36-year-old Corbet has made the impossible numbers work in his favour,Magnificent and massive, The Brutalist is a new touchstone of American cinema Tracing the postwar struggles of a fictional Hungarian-Jewish architect named Laszlo Toth (Adrien Brody) as he builds a massive community centre for a Philadelphia industrialist (Guy Pearce), Corbet’s film – only the director’s third – is a 215-minute epic that takes giant, gnashing chomps on such meaty themes as the tensions between art and commerce, the illusion of legacy, and the nightmare behind the American Dream. Ahead of the film’s Dec. 25 release, Corbet sat down in Toronto with The Globe and Mail to discuss the making of a new cinematic classic. you told me that you were exhausted by everyone reaching for hyperbole when describing movies. Everything was a “masterpiece.” Now, “monumental” is plastered acrossI know to not try to anticipate a response from an audience. It clouds your judgment. No one is above wanting to be well-liked, seen, appreciated. But that said, I always want to do what’s right for the project, and sometimes that is deliberately alienating viewers at times. I try not to concern myself too much with what anyone might think. I’m just thrilled that the movie exists. You mentioned at last night’s screening that this movie was made for every sadist that you’ve encountered in the industry – patrons who want to finance art, but control the artist. How many safe harbours are there for filmmakers now, aside from the fine folks behind this movie? There’s not man
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