Brady Corbet
Appearances
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
I'm very grateful for that. Thank you.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
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.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
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.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
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.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
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.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
And because the style of architecture was so unfamiliar, you know, communities wanted it torn down and they wanted their new neighbors thrown out.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
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.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
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,
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
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.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
So I just thought to see these two, you know, men approaching middle age sort of being that, you know, letting their guard down, especially in the late 1940s because they just can't help themselves because they've missed each other so much. I thought it was quite beautiful.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
Yeah, that's true. You know, I grew up as a performer for years, and I'm sure you've been in this position at some point in your career where you're preparing 13 pages of dialogue.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
Well, you know, but I always think about, you know, you know, dozens and dozens of people's lives that are affected by preparing this material. And usually in the first 15 or 20 seconds they walk in the room, you know whether or not they're right for the role. So I never I want to be respectful of everyone's time. And I only ask people to read more material than that.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
If it's really on the fly, like we're doing a cold reading together, especially with kids, you know, kids don't have a prior body of work for you to reference. So, you know, that process is a bit more significant. But you usually know after a page or two of dialogue, you know, at a maximum. And in general, I just avoid it altogether. We just, you know, make offers to actors we like.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
Oh, yeah, pal.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
Oh, I mean, listen, on the one hand, I'd like to just say it would have been nice to have more money. I don't want anyone to get any ideas like, oh, well, they did that for $10 million, so let's try for nine on the next one. I, you know, I think that it's really just due to our collaborators. I mean, my production designer, Judy Becker, is an iconic designer behind Brokeback Mountain.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
Carol, I'm not there. My cinematographer, Lil' Crawley, and I have worked together for over a decade. We have a shorthand. And most scenes are shot in, you know, one or two shots. I mean, it's shot like a 1950s melodrama. So it's mostly mediums and masters. And where you lose time is setting up a shot. It's not shooting a shot. Shooting a shot takes as long as the scene takes, five minutes.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
So, you know, I prefer to schedule things in a way where we're doing one thing very well over and over again as opposed to 13 things poorly. And, you know, I think that... that we had really great partners on this, producerially as well, that just really understood, you know, what the pillars of the film were and where we could compromise and really understood where we couldn't.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
The film was shot on a large format that was engineered in the 1950s called VistaVision. which is essentially what it does is instead of the film being pulled through the gate vertically, it's turned horizontally so you get more neg area out of regular 35mm stock. I nodded like I knew what you were talking about, but I realized that was... I'm sure that'll probably be cut out.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
I was surprised when I got here and I was the only guest. I assumed I was the second or third guest. And this is why. Do you want to hear more about VistaVision?
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
Your poor audience was expecting Ariana Grande.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
I mean, listen, it wasn't that long ago. You know, in the 1970s, movies like Midnight Cowboy were commercially viable. And I really hope that we get back to that. Our industry changed for a lot of reasons, partially because of streaming, partially because of COVID, partially because of the strikes, you know. And I understand why companies are more risk averse than ever.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
However, if you look at the crop of nominees this year, you know, they're really radical, strange companies. They're strange propositions, which I think should signal for everyone that audiences do want daring, original, provocative films. And, you know, I think it's very... I'm glad you agree.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
You know, I really, you know, I respect audiences and I believe that audiences, you know, are really, really clever and they're more clever than ever because there's so much information out there about how movies are made and there's an awareness of the post-production process and visual effects, et cetera.
The Daily Show: Ears Edition
Trump Gets "Hot" for Kennedy Center, RFK Confirmed, Eggflation Rampant | Brady Corbet
So, you know, they're really savvy and I think it's important that we treat them with respect.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, I've spoken to many filmmakers that have films that are nominated this year that can't pay their rent. I mean, that's a real thing. I mean, you're not paid to be promoting a film. And, you know, like... Wenn man sich bestimmte Filme anschaut, die in Cannes präsentiert wurden, das war fast ein Jahr zuvor. Was soll man tun? Man muss arbeiten, oder?
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ja, stell dir vor, unser Film präsentierte sich im September, also habe ich das seit sechs Monaten gemacht und hatte keinen Einkommen, weil ich nicht mehr Zeit habe, um zu arbeiten. Ich kann momentan nicht mal einen Schriftstück machen.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Well, it's also, I mean, what's so crazy about promoting a film, I mean, to this extent, I mean, because it's opening internationally at the same time that it's opening domestically. Yeah. Das bedeutet, dass du die japanische Presse, die Schweizer Presse, alles auf einmal machst. Und es sind sieben Tage pro Woche, es ist unvergleichbar. Und es ist unvergleichbar. Es ist unvergleichbar.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Since the Christmas break. And that was also only four days.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
No, I mean, that's what's so crazy about this entire process, is that you look your worst, and you feel your worst, and you are, you know, depending on the themes of your film, like, you're usually talking about some of the most complex issues of our era. Yeah, right. Like, it's really not ideal. It's like a six-month...
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, and also, you know, it's hard to imagine that, like, I don't personally have a sense that any of these conversations... Go anywhere. Go anywhere. No, I know. It's a really weird thing. Like, you know, I completed, like... 90 Interviews last week.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
And on the one hand, I'm not looking for them, so maybe that's why I'm not finding them. But it seems like if you do that much, that you would just come across it.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ja, natürlich. Die andere Sache ist, dass, besonders für mich, ich weiß, was es bedeutet, vor einer Kamera zu sein. Ich habe das seit Jahren gemacht. And I resigned. So it is kind of a strange thing.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ja, ich meine, es ist lustig, dass du sagst, dass der Film einen großen Kack hat, weil es eine Art Investition ist, genau das. Der männliche Ego im Mittelland war sicherlich einer der Themen des Films. Ich meine, die Charaktere wurden sehr viel zu ihren Umständen geschrieben, um zu sagen, dass Es waren v.a. zentrale europäische, jüdische Architekten, die diese Gebäude bauten.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Aber sie waren auch v.a. männlich. Und ich dachte mir, wer braucht wirklich einen Film über einen männlichen Künstler, einen geheimen Geist? And my partner and I just, you know, there was no way around it. Like, this is just who the character was. This was their gender. They definitely would be a man of a certain age, etc., etc.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
And so we tried to offset that to the very best of our ability because of the fact that Our feeling was that this character's legacy is not his body of work, but ultimately his family. So it opens and concludes with shots of his niece that he has sort of paved the way for, but it's also part of the vicious cycle of history. Will her life be better or worse?
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ja, ich denke, es kommt eigentlich nur aus den Screenplays. Ich denke, was es spezifisch ist, ist, dass ich es mag, jemanden zu sehen, der ihre Gitarre spielt, bis ihre Finger bluten, oder ihren Sax zu spielen, bis ihre Lungen explodieren. Oder ich mag auch, dass es vier Bars von Ruhe gibt. Ja. It's an interesting thing where like everything in between, I'm not particularly interested in.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
And like if I reach for an album, I mean literally like what my ear yearns for, it's William Basinski or, you know, it's Orna Coleman. I mean, there's nothing really in between.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
It is. It was the last piece of music that he published, I would say, because he actually was working on an album at the time. How did you get hip to him? Er war mein Hero. Wirklich? Ja, als ich groß war. Ich habe Scott's Records geliebt. Und ich hatte diese Art von Obsession mit einem Rekord namens Tilt aus den 90er Jahren. Und das... I went backwards with him.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
I had no, as an American, even though Scott was American, he lived in the UK since 1978. And he never left. He never left the country. Smart. I mean, he did drop dead right after Brexit. I think we know how he felt about it. I remember when Leonard Cohen died just before...
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ich bin so, ja, vielleicht. Aber Scott war, Scott war lustig, weil natürlich, du weißt, besonders für Leute, die in den USA geboren sind, sie wussten ihn von seiner Jungs-Band, du weißt, und sie waren die Walker-Brüder, du weißt, sie waren sie, sie, sie, sie, sie, sie, sie, sie, sie, sie, sie, sie, sie So they were really assembled by the label.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
It just so happened that a handful of them were extremely brilliant, including Scott. It's wild, right? Yeah, and if you listen to the albums, what's interesting is that Auch die Poppieste von Pop-Songen, es gibt immer ein bisschen Dissidenz, es gibt immer ein bisschen Discord, es gibt einen seltsamen atonalen Zustand.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Und ich denke, was so erstaunlich ist an seinen Alben, insbesondere als er für große Labels arbeitete, ist, dass er einen Weg gefunden hat, was er macht oder was er macht, innerhalb dieses Systems. Und weil natürlich ein Exekutiver, besonders damals, would never be able to really call out the fact that there's an atonal sustain. It's very specific. They're looking for the hook.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
And the hooks were there. But what's funny is that he was quite... Yeah, I mean, he was a perfectionist, so I think that, like all of us, you know, we all, you know, I think, you know, I think it's human nature... We all wish that we had a perfect record. But like that's not how it works.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
But I also, I don't even think that, you know, you believe it. I think that you know it. I think that you listen. There's, there's, it's an organized chaos. And I'm very interested in this specifically, you know, like I, I mean, for, for me, I. I always feel that when I'm watching something, you know, in this day and age in particular, everything has been so sanded down.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
I mean, there's so many cooks in the kitchen that essentially what you end up with is like airplane food. Like it's built to just, you know. Kind of look like it's supposed to. Yeah, like it's sustenance.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
I think that I was an only child, a single mother. Where were you? In Arizona? I was born in Arizona. I was raised in Colorado until I was 12.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, we're both from the southwest. But I also During that period, because my mother was working a lot, we traveled a lot. What did she do? At that time, she was working at a company that was sort of an offshoot of Fannie Mae. Insurance? No, mortgages. She was working in the mortgage industry. She got laid off in 2008, when everyone got laid off. Then she had to sort of start her life over again.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
But yeah, I mean, how I sort of fell into the film business is a long story, not a very interesting one, but at that time in what was, I guess, the early 90s, the way that Really? Never heard that. Yeah, so I grew up with a lot of child actors, but they were all from this valley between Aspen and Vail.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
And it's because there was a casting director that was based there, that was affiliated with Joanna Ray, the casting director of David Lynch. And Joanna Ray actually cast me in Funny Games, the Michael Haneke film. Um, when I was 17. So it was this kind of strange thing where like somebody would be like based in, you know, Tallahassee or it's crazy. I've never heard that.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
And I've talked to a thousand people. Yeah, no, it's a really, it's a weird thing. I, I, I know, I certainly know a lot of other child actors that come from like small, small towns. And the way that it started for me was that I was a cinephile from a really young age. Who turned you on to that? Ich war in den Comic-Büchern. Ich habe keine... Ich habe in den Turner-Klassik-Filmen gewachsen.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Und meine Familie liebte Houdanits. Und ich denke, dass... Also das führt dich zu Joseph Losey und Hitchcock.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, I definitely, I liked what I liked from a young age. But, you know, by the time I would say I was, you know, 11 or 12 years old, I also was really just, I liked alternative everything.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Well, what's interesting for my daughter, my daughter is ten and a half years old. And I am under the impression that like looking for an alternative is not something, you know, which is like cool. Anymore? Yeah, and I think that the pendulum will probably swing back in another direction eventually. But like the reality is that right now, like if you ask anybody, Ja. Exactly, exactly.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
You're like, what the fuck is this? Yeah, absolutely. No, 100%. But I mean, like, you know, I loved Fugazi. I loved, you know, I mean, in terms of the artists of that era. And Scott Walker in the 90s was the alternative to the alternative. Right. I mean, and so you couldn't at that point go much deeper than that. Someone had to hip you to it. Yeah, but I don't know who. Oh, really?
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, I think that in all seriousness, I just think that from reading a lot, listening to a lot, one thing just kind of led me to another.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Oh, 100 Prozent. Nun, ich meine, Leute fragen mich ständig, weißt du, wer meine Einflüsse sind. Ja. Aber die echte Wahrheit ist, dass, zuerst einmal, es so viele gibt, dass ich nicht wissen würde, wo zu beginnen. Und zweitens, sie sind nicht Filmmacher. Nein. That's not really the well that you drink from if you're making something because you know better. Was it music and writers?
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, absolutely. Painters? In the production office it's mostly paintings and photographers that are on the wall. And it's just, you know, I mean... Es ist eine verrückte Sache. Ich arbeite mit einigen Filmmachern in meinem Leben, die eine bestimmte Szene in einem Film bezeichnen, aber es scheint etwas kurzfristig.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ähm, ich meine, ich würde sagen... Rothko-Guy? Nein, ich liebe Rothko, aber es war nicht auf meinem Kopf. In der Tat, nein, es ist mehr die Chiatoschiro-Dinge, wo wir, wenn wir schießen, wirklich versuchen, die Qualität eines Goya zu erreichen. Das macht Sinn. Epic fast. Well, it's also just the balance of light and dark with an emphasis on the darkness.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
We really torture the negative so that essentially it even has the texture of a painting. Especially now where everything kind of looks like Apple Plus.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, you absolutely do. I mean, you can shoot, if you expose negative properly. Yeah. And you don't push it and it's just, then it can just be very clean and sort of, it can be sort of what the Alexa and the red cameras have sort of tried to emulate. Right. But there is all of this latitude where... You can achieve something with the quality of the image, which is where it really is.
WTF with Marc Maron Podcast
Episode 1618 - 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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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...
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ja, nein, es ist eine interessante Sache. Ich meine, bei den PGA-Awards mit der Producers Guild, die nachts vor dem letzten Tag war, gab es eine Rede, die ich ziemlich unerlässlich fand, wo...
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Someone that was, I don't know who it was, but someone was accepting a prize and they essentially said that they don't buy into the authorial concept that they said, well, this is a collaborative medium, you know. Das bedeutet, dass es nicht ein Writers-Medium war, es war kein Direktors-Medium, aber bei den Producers Guild Awards war es ein Producers-Medium.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Und obwohl ich eigentlich denke, dass das wahr ist, ich meine, das ist das, was ich gerade gesagt habe, habe ich es unerlässlich gefunden, dass jemand tatsächlich darüber nachdenkt. Zuerst.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Well, it's a different, it's actually a totally different thing. So, like, I have an extraordinary producer that I love. Yeah. Who has a very different skill set than I do. Yeah. And, you know, we have different... Ambitionen. Ich will meine Filme machen und ich denke, er will die Status quo völlig ändern. Er hat eine Ambition, die größer ist als ein Projekt.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Er will die Kultur ändern, weil er frustriert ist mit der Art und Weise, wie die Dinge jetzt funktionieren. Oder aus seiner Perspektive, die Art und Weise, wie die Dinge momentan so nicht funktionieren. Und ich denke, das ist sehr interessant, weil er natürlich viele, viele Projekte über den Laufe seines Lebens machen kann. Du kannst viele mehr Filme produzieren als einen Film zu einem.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ich kann nur einen Film zu einem machen. Ja. Maybe if I'm lucky, I make 7 to 12 films in my lifetime. And so this is just to say that... You know, I'm always disturbed by anyone who does a job that wants to be doing a different job. Like if you meet an editor that wishes they were making the movie, that's not great. Yeah, because then he's making a reel.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, or if you want your costume designer to be passionate about costumes because they're bringing an expertise to the table that you simply don't have. Yeah. Und wenn du einen Film machst, kreierst du eine Erfahrung, die hoffentlich gut gehen wird.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Es ist eine lustige Sache, weil ich auf der einen Seite wirklich glaube, dass, wie ein Novel, du willst kein Novel, das von 25 Leuten geschrieben wird. Du willst ein Novel, das... Ich will kein Novel mit 25 Leuten in es. Genau. Well, that rolls out the Russian canon.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
But there's a, you know, in all seriousness, I think what's so strange is that on the one hand, I'm the first to admit that it is a completely collaborative media. And this is the reason that COVID, no good films came out of it. Nobody was in their house with their iPhone and made a masterpiece. That didn't happen. I watched a lot of people who tried. It didn't work.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
I just did Instagram Lives and that seemed to keep me going. But I think that, you know, but on the other hand, You do sort of need a captain of a ship. And I've worked for a lot of different captains. And I still work for different captains. You know, like I direct second unit for people and I write screenplays for other directors. And I, you know...
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
At the end of the day, like somebody needs the tie break, like somebody needs, you know, to be like, look, you know, this is my project. I assume the responsibility. I sink with the ship. I sail with the ship, you know, and that's the only way that it works, because otherwise it just results in a lot of indecision.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ich habe es nicht vergessen. Es ist lustig. Ich denke, dass ich es immer mit dem Thema behandeln werde. Ich habe viel Unterstützung. Ich habe ein tolles Team. Es hat mir eine lange Zeit gedauert, das Team zu bauen. Aber ich habe sie jetzt. And also I make films that are relatively inexpensive. And that's important too.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, well, that's because if you spend money wisely and you move sand around in the box, you know, accordingly, you can make something that feels really big as long as you're spending money on what's going on screen and not just, you know, taking people to fucking Nobu or whatever on Friday nights after...
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
After Shoot, I mean literally, I see the way that money is wasted and I find it frustrating a lot of the time because we could make a lot more movies with let's say 150 million dollars, that's 15 to 30 films.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, I mean, it's also, it's, you know, I don't want to be too black and white about it, because I do know so many extraordinary film executives, and I really mean that. But, you know, of course, they're the exception to the rule. They just are, you know, like, I mean, there are a few folks that really do their job with, you know, They operate from a place of power, not fear.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
They are great producers in their own right. But generally, it is just someone that represents the company's interests. And, you know, they're just afraid of losing their job.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, a blame structure, that's exactly right. That is exactly the right turn of phrase. And so, you know, I see all the time like these kind of like really, these folks that got their job for a reason, like they've got really good taste, they have really good sensibilities, but they stop trusting their own sensibilities because they're having, you know, Ja, genau. Right.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
I said to one executive, you know, who was sort of apologizing for how they had treated the film and stuff.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
And they said... And it was a strange thing because I'm very unsettled by the fact that, especially in America, because it's essentially capitalism that's run amok.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
We give you the work that makes your job possible. So instead of being treated with any degree of respect, you are strangely undermined all the time and I find that really, really frustrating. I really believe that it's important Ich finde es interessant, dass in Hollywood, wo du und ich diese Konversation haben, spezifisch,
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
that so many folks are politically so liberal and yet creatively so conservative. I find it really... Or fundamentally capitalistic. Yeah, absolutely. Of course. I mean, I could argue philosophically that even democratic socialist nations are fundamentally capitalistic.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ja, das stimmt. Ich meine, wenn man sich unter die Hütte des Autos anschaut, findet man Kapitalismus. Aber ich finde es wirklich interessant, dass, wie du weißt, ich finde auch, dass gerade jetzt im Generell, wie die Art der puritanischen Leidenschaft der Linken mich erinnert, von, du weißt, von der Konservativität von 75 Jahren her.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ich bin überrascht darüber, weil ich so weit weg bin, dass ich in den Pazifikischen Ozeanen fallen werde. But I find it strange that freedom of speech, etc. is not really encouraged in this day and age.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Like, what's at stake? Like, what's at stake is our culture. Because if everyone gets, you know, is too frightened to ever speak their mind, especially, you know, your current job, the job you're doing right now, that job doesn't exist anymore.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, no, I think you're totally right. I mean, Judd Apatow made an amazing joke the other night, sort of under his breath, at the DGA Awards, which he was hosting. Yeah. He was like, alright, well, we're going to wrap this up and I'm going to go backstage, get online and find out how my career is going. I was like, yeah, he's totally, it's very funny because it's absolutely true.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
How many people did he manage to offend in the last 45 minutes simply for existing and having a point of view?
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
No, that's that. Well, yeah, I mean, that's you're absolutely right. And this conversation has gone deeper, faster than.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ja, ich meine, das ist absolut richtig. Das ist absolut richtig, aber es ist immer so, das ist das Problem, oder? Ja. Das ist das Problem, dass das Pendulum immer so schnell und so hart schwingt, in Bezug auf was auch immer. Ja, du hoffst einfach, dass das Pendulum nicht bricht. Ja, ja.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, well, I think that it's interesting because everyone wants a moral tale. They want to be told how and what to feel.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, well, I mean, look, I literally had a day in the span of 12 hours. I was called a Zionist pig and an anti-Semite by two different people. And I was I was I was really, you know, I was I was really shocked because I of course I have a I have a very private life. I had a more public life and then, you know, and I walked away from that, you know, I as an actor. Yeah.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Because that's a different level of just putting yourself out there.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Du verstehst, wie es funktioniert. No, but I mean, you're totally right. I mean, and look, I think that making a film, making a show, putting out an album, whatever, it's a public art project, which means that people can paint on it, they can piss on it, they can do whatever they want with it.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, I didn't think of it that way. I just worked with directors I wanted to work with.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, I wanted to work with them because I loved their movies. Yeah. Ich konnte mir nicht vorstellen, dass ich nur mit Direktoren arbeiten konnte, die ich liebte. Ich meine, großartige Schauspieler. Du wirst dich irgendwann auslösen, wenn du das tust.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Als ich angefangen habe, mich über Schauspieler zu erinnern, um wirkliche Performer zu sein, versus how I felt, because I felt sort of fraudulent. I was like, I don't know how, people were like, how was your day? I was like, I don't really know. Yeah, I think I did it. Yeah, I gave someone else raw material to work with. It was a weird thing. I didn't have a real sense of autonomy.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Aber wirklich großartige Schauspieler, ich denke, dass sie es so sehr lieben, dass sie froh sind, für ihre Rolle da zu sein. Sie sind froh, ihr Spiel zu machen. Und das ist wie... Und sie können wie Assassins sein. Wenn du mit einem wirklich tollen Performer arbeitest, ist es verrückt, zu sehen... Wie Adrian? Wie Adrian. Für mich ist Adrian wie Gregory Peck.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Like, he is like a performer of another era. Like, he, for me, even just, like, aesthetically, like, you know, he's, like, of another time. He feels like Robert De Niro. And I just think that, um... Wie in einem Tag und Zeit, in dem ein sehr anderer Art von leitender Mann auf dem Weg ist. Ich bin mir persönlich so gefreut, als Filmhörer, jemanden wie Adrian als Topliner zu sehen.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
So I have this real affection for him and both him and Guy Pearce as well as Felicity Jones and Joe Alwyn and kind of like the main players on the film. They were just like Sie waren unglaublich vorbereitet, in einer Art und Weise, in der ich es mir fast nicht gewohnt hatte. Sie verpassten nicht einen Slogan. Jedes Take war schmerzhaft. Das ist Glück, wenn du im Film bist.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Es war nicht schmerzhaft auf unserer Seite. Wir hätten einen Bump in der Strecke und wir hätten Probleme. Aber der einzige Weg, wie ich diesen Film in 33 Tagen für 10 Millionen Dollar machen konnte, war, dass ich ein Team hatte. Das war so... Sie haben vier Monate gearbeitet, bevor sie hierher kamen. Und ich habe es so sehr gefreut. Ich bin wirklich so dankbar für den gesamten Cast.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
It's interesting because I haven't seen The Pianist since it came out.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
I think that every film I've made is really about like a post-traumatic generation. So, The Childhood of a Leader was about the six months leading up to the signing of the Treaty of Versailles after... After the First World War and sort of about the way that Woodrow Wilson inadvertently paved the way for fascist uprising. Some 20 years later, Vox was a film about
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
about post Columbine and post 9-11 America. What Vox and the Brutalists have very much in common is that when I was thinking about, you know, making a film on the post-war years and I was thinking a lot about post-war architecture and how it was a response to what had sort of occurred in the first half of the 20th century. I
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
I was thinking about, you know, Mies van der Rohe like walking into like, you know, like Lucille Ball's living room and I love Lucy and like presenting like his concept for his space. And I was like, that's like very, very radical. And I just think that like, you know, what's interesting about the 1950s is
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
is that like the American sitcom was very much in response to sweeping under the rug everything that had occurred just a few years earlier. And Vox for me was about how Real Housewives of New Jersey was sort of a response to that as well. Like it's sort of about like the new culture is this thing, which, you know, is... It seems to be...
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
It seems to be really sweeping under the rug what's occurred just a decade earlier. And trying to make light of a very disturbing moment in time. Yeah. Narzissismus und Solipsismus, das ist definitiv unserer Ära. Ja. Und natürlich ist es so, weil wir sonst etwas sehr Wichtiges machen würden, über Kinder, die anderen Kindern in den Gesicht schießen, auf einem täglichen Basis. Ja.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ich meine, jede Woche. Ja. Ich meine, ich kann dir nicht sagen, wie viele Festivalprogrammierer und so. Sie würden zu mir kommen, und am Anfang des Films, bevor der Film begann, und sie würden sagen, hey, Can you just give a trigger warning to the audience? Because they think they're coming to see a film about a pop star, but it opens with a school shooting.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
And I was like, no, that's sort of the point. The point is to not make them aware. Those kids didn't get a trigger warning. Ja, genau. Und ich dachte mir, das passiert, weißt du, hundertmal im Jahr. Ich meine, so viel, dass es nur als Massenmeldung qualifiziert, wenn drei oder mehr Menschen tatsächlich getötet werden. Ja. Vergiss es über die Verletzten.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Wenn sie nur verletzt werden, für den Rest ihres Lebens, dann macht das nicht die News.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
I mean, it sort of started actually with Marcel Breuer, who, you know, for context, Walter Gropius, you know, had him positioned at a university in the US after the Bauhaus was shut down by the Nazis in 1935. In reality... There were zero examples of anyone that got stuck in the quagmire of the war, certainly that survived the camps, and then went on to have a career in the 1950s.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
That didn't happen. I consulted a specialist to ask them that question specifically, a guy named Jean-Louis Cohen. And I said, because I wanted to make sure that if we were going to tell this sort of virtual history, that there was no overlap with any existing person. And there wasn't.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Because the film was sort of, for me, it was, we always talk about the lives lost, of course, but there were also the livelihoods lost. And I... I... While, you know, going through the Bauhaus archives, looking at all of these unrealized projects. Right. It was so... It was devastating. Like, I felt really devastated about it. And...
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
I just thought about all these young visionaries that must have felt so exhilarated about the potential of the future. And then they had everything taken from them. And, you know, I just found it really, really profoundly upsetting. And I felt that the... Ja. Ja. And the film is working on several levels, of course.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
It's a 1950s melodrama with a capital A antagonist that could rival Joseph Cotton or James Mason. And it also has the bluntness of a 1950s melodrama. And it was not constructed... Ja. Ja. And I was constantly like thinking, you know, like, oh, well, what would Douglas Sirk do? And that was sort of, I think, our guiding light through the process.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
But of course, it's investigating very contemporary issues and those themes are universal. I mean, beyond, you know, the fact that our character and characters are Jewish and And their Jewishness, you know, is they all have a different relationship with. I mean, the youngest girl is clearly quite conservative or becomes quite conservative.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Whereas, you know, Adrian's character, I think, is is ultimately more consumed with, you know, his his body of work and his own ego. Like there's not enough space for for for a higher power.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, well, it was about the way in which the immigrant experience and the artistic one, for me, are very similar. Which is to say that, you know, an artist is fighting for the right for their projects to exist. You know, the immigrant is fighting for their right for their family to coexist. And I find that, you know, like the first chapter of the film, part one, takes its name from the V.S.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Naipaul book, The Enigma of Arrival, which is a memoir that he wrote. von Trinidad nach den USA, wo er 20 Jahre lang in Stonehenge gelebt hat. Und eine der Gründe dafür, dass es solche Kursen im Film gibt, sind die Signale. This is something that is bigger than one minority. It is something which is acknowledging all minorities and certainly all artists.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
And it's the reason that every character in the film has... Backstory. Part of the reason that the film is as long as it is, is that there are no peripheral characters. They all kind of matter. They have a meaningful sequence in the film. And to create that space for those characters, it just kind of adds up to being over three hours long.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
But what's funny is that I also think it's much more immersive and I've never... I truly haven't had anyone complain about the length once they've seen the film. I've had many people griping about it before they watched the movie.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, it moves. It moves in a clip. It really does. But I also think that when you're taking up that much space, you really feel like, okay, we gotta get the show on the road. I certainly felt that editorially. I didn't feel that I could indulge very much. Because I too had to watch it. Not only did I have to watch it, but I had to watch it over and over again.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ich glaube, ich habe den Film von Anfang bis Ende vielleicht über 60 Mal gesehen. Das sind viele Stunden. Ja, es war wirklich etwas. Ich habe so viele Prints gesehen, auf 35 Millimeter, auf 70 Millimeter, auf der DCP, die IMAX-Version. Ich meine, jede Version muss von dir und deinem Team überprüft werden. Und normalerweise ist etwas falsch, also musst du es dann wieder sehen.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Und dann wieder und wieder. Und ich habe also definitiv eine Dose meiner eigenen Medizin bekommen. Und ich verstehe, dass die Zeit der Menschen wertvoll ist. Ich meine, es war keine Möglichkeit für mich, sie auszuschalten. Zumindest kann jeder noch rausgehen, wenn er sich nicht fühlt.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Ähm, nein, ähm, es war definitiv, äh, äh, squeaky wheel gets the oil. Ich meine, das war offensichtlich top of mind. Also wir haben das für jeden einzelnen Tag unserer, unserer Präproduktionperiode, ähm, zwölf Wochen. Ja. Ähm, du weißt, es wurde in einer sehr alten Art und Weise gemacht. Ähm, wir haben ein praktisches Modell gebaut. Ja. Ähm, Star Wars-Style. Ja. It was enormous.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
It wasn't as big as the building is in the film. But you had real texture, real light, real shadow. That's part of the reason that it looks as good as it looks. We also built a big portion of the institute to scale so that you would have certain shots that really basically the front of the building actually existed. Und dann haben wir es digital gestaltet mit unseren praktischen Modellen.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Wir haben Techniken aus einem Jahrhundert hergebracht und sie mit den Techniken von heute kombiniert.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, yeah, exactly. Well, I think, I mean, that's totally right. I mean, that's my incredibly perverse sense of humor that you've sat there for three and a half hours and then you actually never see them turn the lights on. But that is the creative process. The creative process is generally disappointing. So I think it really is. It's like you have like, you know, you constantly are like,
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Is it worth it? After a certain point. I don't know. I don't know that it was worth it. I'm not sure. The film was made over the course of seven years. By the time I'm done with this promotional campaign, it will have been eight years. Ich habe definitiv, wie du weißt, Jahre meines Lebens sind erodiert worden als Folge des Stresses, des Films zu machen, des Schutz der Flamme des Films.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Und, du weißt, ich kann nicht, auch wenn der Film war, wie du weißt, hat, hat, hat so beeindruckend und, und, und letztendlich sogar kommerziell verfügbar, was kind of amazing doing all right. Yeah, I made 25 million dollars. I mean, it cost 10. You're good. Yeah, I'm good. I cleared the hurdle. And now you're just waiting for your check? Oh, God, I wish. I wish that's how it worked.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
This is not how it works. The waterfalls are so fucked up. Everyone gets paid back 17 times over before you make a dollar as its creator. It's amazing. Yeah. But no, I just, I do really wonder, like, my daughter's ten and a half years old and I missed out on a lot in the last few years to make the film.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Aber ich bin auf der Straße und ich bin einfach... Ich werde ziemlich fasziniert.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
And I think that ultimately you're always just, you know, like looking towards the next gig.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
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.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
No, it's a New York story. The fire department told me, you know, never move above a laundromat or a pizza place. And I was like, that's the entire fucking city. Yeah.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
It was a laundromat fire. A piece of lint caught on fire during the night. My wife and I were a few blocks away. And my mother and daughter, they got out immediately. So they were fine. The fire department put the fire out. They actually even said like, hey, if you don't have a place to go, Ja. Ja. Well, that's lucky, man.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
Yeah, I just directed three advertisements in Portugal, but pre-production was in the UK. It was the first time that I had made any money, really, in years, because both my partner and I made zero dollars on the last two films that we made. Zero? Yes, actually zero. So we... We had to, you know, just sort of like live off of a paycheck from three years ago.
WTF with Marc Maron Podcast
Episode 1618 - Brady Corbet
And obviously the timing during an awards campaign and having to travel every two or three days was less than ideal. But, you know, it sort of was an opportunity that landed in my lap and I jumped at it.