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Brady Corbet (Vox Lux) has a new movie, and it's a positively epic one!
The Brutalist is 215-minutes long, and has been showing at festivals in 70mm and with an intermission.
This is simply the kind of movie that's not being made any more! Can't wait to watch!
Corbet was awarded the Best Director prize today at the Venice Film Festival
The Brutalist is 215-minutes long, and has been showing at festivals in 70mm and with an intermission.
This is simply the kind of movie that's not being made any more! Can't wait to watch!
Corbet was awarded the Best Director prize today at the Venice Film Festival
Brady Corbet, the director of “The Brutalist,” is still trying to figure out the best way to deliver the print for his film to the Venice Film Festival, where it will debut next month. That’s because the epic 215-minute story of a Holocaust survivor forging a new life in America will be shown in 70mm, which means that all 26 reels of film will need to travel in four Pelican cases from Los Angeles to Italy, weighing in at approximately 300 pounds.
“We may have to buy a couple of plane tickets,” he said, shortly after Venice unveiled its lineup. “We have to figure out the best way to get it through customs in order to hand deliver it in time.”
But Corbet has been resisting the digital tide for years, having shot his two previous films, “Vox Lux” and “The Childhood of a Leader,” on celluloid. That’s become something of a rarity as the industry has moved towards sleeker, cheaper digital cameras. And it’s a complete anomaly in the case of producing movies in 70mm, which may be experiencing a renaissance with big studio productions like Christopher Nolan’s “Oppenheimer” and Denis Villeneuve’s “Dune: Part Two,” but is rarely, if ever, an option for independent filmmakers like Corbet. But when he first started planning the movie seven years ago with his co-writer and wife Mona Fastvold, Corbet felt that the format was perfect for a story that begins in World War II and concludes in the 1980s — with a substantial chunk of it taking place in the 1950s. That was an era when classic Hollywood productions like “Vertigo,” “North By Northwest,” “The Ten Commandments,” “White Christmas” and “The Robe” were routinely filmed in VistaVision, CinemaScope and other widescreen formats.
“We may have to buy a couple of plane tickets,” he said, shortly after Venice unveiled its lineup. “We have to figure out the best way to get it through customs in order to hand deliver it in time.”
But Corbet has been resisting the digital tide for years, having shot his two previous films, “Vox Lux” and “The Childhood of a Leader,” on celluloid. That’s become something of a rarity as the industry has moved towards sleeker, cheaper digital cameras. And it’s a complete anomaly in the case of producing movies in 70mm, which may be experiencing a renaissance with big studio productions like Christopher Nolan’s “Oppenheimer” and Denis Villeneuve’s “Dune: Part Two,” but is rarely, if ever, an option for independent filmmakers like Corbet. But when he first started planning the movie seven years ago with his co-writer and wife Mona Fastvold, Corbet felt that the format was perfect for a story that begins in World War II and concludes in the 1980s — with a substantial chunk of it taking place in the 1950s. That was an era when classic Hollywood productions like “Vertigo,” “North By Northwest,” “The Ten Commandments,” “White Christmas” and “The Robe” were routinely filmed in VistaVision, CinemaScope and other widescreen formats.
