My name is Brady Corbet and I am the co -guy and director of “The Brutalist.” For a cantilever floors, we plan to use beams in the form of the upside down in concrete slabs here. This is a sequence in which Adrien Brody's character, Laszlo Toth, defends his project to a group of defenders of the local and financial community who have brought a local architect to evaluate their plans for the project. We trigger this sequence on the outskirts of Budapest in a granite quarry, because we could not allow ourselves to build a set, frankly. I mean, we had great ideas about what this location could be and simply to dig a hole in the floor that is so significant is quite expensive. So, this quarry was perfect in terms of the scope and the scale, and we directed it and buried it to make it a set where these characters can have a 3 -minute conversation because there is an edition in the sequence, but it is the whole shot . The only one cut in this overload in the middle of the sequence was actually just to guide the spectators. But the scene is a shot and is a shot, which is generally like everything. The reason we shoot everything in a single shot is not only for formal reasons, but it is also only for programming reasons. “Laszlo has offered personally compensate for these costs.” “No, I'm sorry, but you have asked me to come here to tell you what we don't need. Simple and plain. The only thing we do not need is this guy. “It is much easier to configure a shot and do one thing over and over again and do it well, than to shoot a coverage as it would in most television programs of all artists. Philosophically , you are just cutting if there is a reason to cut. , but most importantly, ugly, everything … is your fault. “And so, for me, I think the feeling of sun in the box of the sun you have, that you have captured this ephemeral thing. It only happens in the shots of sequence. All inside a picture.
