Brady Corbet digs into the combination of a rigorous approach to technique and technology, and the encountering of a few happy accidents, that led to one of the most visually striking films in years.
“My problem with so many contemporary films—and very much in the age of streaming, where a lot of the shows have the look too—is a very homogeneous and clinical and slick look. Executives seem to like it, but it’s not particularly soulful,” Corbet says. “For me, digital photography versus shooting on celluloid is the difference between painting with watercolor and painting with oil.
That said, it’s a strange place because we have taken a bite out of Mother Nature, and she’s seriously pissed off. There are constant rock slides. It’s staggeringly beautiful, but it really feels dangerous. Now it’s a lot safer—there are still accidents—but in the 1950s, everyone was cutting their fucking hands off all the time.
Shot List The Brutalist Adrien Brody
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