Brady Corbet approaches the Academy Awards with significant momentum. The director of The Brutalist secured the Best Director award at the Golden Globes, surpassing India's Payal Kapadia, who received a nomination for her debut feature film, All We Imagine As Light. In an interview with Hindustan Times, Brady and his wife, Mona Fastvold, who co-wrote The Brutalist, expressed their pride in the emerging female filmmakers from India, including Payal.

On the American dream and legacy

Payal is an exceptional filmmaker, and my friend Chaitanya Tamhane is also a remarkable director. I am a strong advocate for increased international recognition of Indian films. Each year, we engage in numerous discussions regarding gender parity at film festivals. However, I find it both perplexing and disheartening that a country producing such a vast amount of cinema remains underrepresented at these events, remarks Brady. He further expresses, “I am genuinely thrilled about Payal's achievements, which are thoroughly deserved. I hope this heralds a new era for Indian cinema, particularly for emerging female filmmakers like her.”

“That is precisely what we were anticipating. I mentioned to Brady recently, ‘Is an Indian Wave emerging?’ similar to what occurred in Mexico City. Perhaps that is what is beginning to unfold,” adds Mona. The filmmaking duo concurs that, akin to their film, which portrays Holocaust survivors relocating to America, Payal's work also chronicles the journeys of migrants within India and their challenges in establishing an identity and livelihood in a demanding city like Mumbai. Furthermore, like Payal's narrative, which transitions from Mumbai to a coastal village in Maharashtra, The Brutalist serves as a cautionary tale regarding the pursuit of the American dream.

Brady asserts that while numerous success stories exist, the underlying truth is that the American dream has been marketed to 99% of the population for whom it ultimately proves ineffective. This is an undeniable reality, and he finds it difficult to present it in any other light. He notes, "Ecstasy is always accompanied by agony and vice-versa." In the film, Adrien Brody portrays László Tóth, a character who achieves the status of a ‘successful’ architect, yet the notion of success is fraught with complexity. As the narrative concludes, Brady observes that László appears to age rather than thrive. He contrasts this with Chet Baker, the renowned jazz trumpeter, who at 80 appeared to be 50, while László, at the same age, resembles a frail figure nearing a millennium. By the end of his life, he is depicted as a mere shadow of his former self, rendered mute, with the implication that his wife has likely passed away.

Brady expresses regret that after a lifetime of effort, László has little to show for his endeavors. "What is his legacy? It is not his body of work but rather his niece and family," he reflects. He believes that creating a film like The Brutalist represents a “creative compulsion” for both him and Mona. Their true legacy, in fact, is embodied in their 10-year-old daughter, Ada, who tearfully and proudly held the Golden Globe statuette on stage as her parents accepted the award for Best Picture - Drama. The couple dedicated seven years to The Brutalist, starting the project when Ada was just three years old, and they liken it to one of the magnificent structures László would design in the film, with the hope that it endures for generations.

On constructing The Brutalist

The experience was undoubtedly one of catharsis. Throughout the journey, we confronted various challenges. The process resembles that of constructing a building, involving coordination with numerous individuals, assembling a team, and pursuing a distinct and unique vision. There are indeed many parallels, remarks Mona. In contrast, Brady expresses a heightened sense of enthusiasm. “Each project is a personal trial of your own making. It is a peculiar sensation to feel driven to repeat this endeavor time and again. I liken it to the myth of Sisyphus. Essentially, you are nurturing a tree for an indeterminate number of years. That is the essence of it. You engage with it incrementally every single day until completion,” he states, exhaling deeply while smiling.

This is why he vividly recalls the moment he finally reached completion. “There is no greater ecstasy than the moment of finishing. Everything that has transpired since has been profoundly impactful, yet I believe that no moment surpasses the day we completed our work. The creation was tangible, presented in 70 mm format. We were not merely dispatching a hard drive to echo into the void,” Brady explains. “If we intend to initiate another film within the next seven years, we must commence immediately. We seldom have the luxury to pause and reflect. The only path forward is through,” he concludes.

Time serves as a significant element in The Brutalist. The film, with a runtime of 3 hours and 35 minutes, ranks among the longest in contemporary Hollywood. An intermission is even incorporated into the viewing experience. However, both Brady and Mona believe that the film's format does not lend itself well to television. “Television is not a director's medium. It incurs high production costs due to its extended duration. When creating something of that scale, you inevitably invite numerous perspectives into the process. We have dabbled in that format, but regrettably, we are not in the era of Fanny and Alexander (1982) or Like A Bird On The Wire by Rainer Werner Fassbinder (1990), or any other television films from a previous time. For us, this has always been a film,” explains Brady.

Could it have been adapted into a series, allowing for additional seasons? “I believe 3.5 hours provides ample time with these characters. I feel quite satisfied. Personally, I am done,” Brady states, reflecting his characteristic weariness. Mona appears to concur, “I could have explored further, but as Brady mentioned, the freedom is limited. We produced this film for $10 million and completed it in 33 days. It would have been unfeasible to create or plan it within that budget and timeframe for television.”

On love and longing

The runtime serves as a factor contributing to the writers' decision to delay the introduction of the female lead, Erzsébet (Felicity Jones), who appears only near the second half of the film. Brady cites Alfred Hitchcock as a significant influence, particularly appreciating the way he subverts expectations, akin to the "Janet Leigh effect." In Hitchcock's Psycho (1960), Janet Leigh's character meets a shocking demise in the first half, while in Brady's earlier work, Vox Lux (2018), Natalie Portman's character is introduced only in the film's second hour.

Brady remarks, "That's the magic trick. Imagine sending a screenplay to someone's agent and saying, ‘Just flip to page 60 and there you’ll find the lead of the movie.' It wasn't very popular at the time. But movies used to take bigger risks. It's incredible that 75 years ago, people were taking much bigger swings than they are now." Nevertheless, Mona expresses little concern over Felicity's delayed appearance, noting that her character's influence is felt from the outset through her husband's yearning. "It's very prescient from the beginning. The idea was that you'd anticipate her, long for her together with László (Adrien Brody)," Mona explains.

You are curious about this character because you become acquainted with her through the letter. You perceive her voice, which creates a sense of intimacy. It is hoped that you grasp the essence and distinctiveness of their relationship immediately, ensuring her presence is felt throughout the narrative. Furthermore, once you comprehend that he remains unaware of her survival until later, you can appreciate the profound sense of loss he experiences when he believes she is gone forever. Witnessing that journey is intended to facilitate your connection with his emotions upon their reunion, Mona elaborates. Similar to their protagonists, Brady and Mona also needed to find a way to collaborate more effectively, ensuring their individual needs did not conflict.

“We have collaborated on all our projects in various capacities. In addition to co-writing, we also direct the second unit for each other's films and produce them as well. Thus, the entire process has been symbiotic from start to finish. We simply assume different roles throughout the various stages,” states Mona, who believes that defining their roles as writing partners before becoming a romantic couple has been beneficial. “In this film, we depict a character who is entirely absorbed in his creative work. We also portray a partner who is supportive yet gently reminds him, ‘Your ego has taken over now.’ She brings him back to reality and grounds him, while never undermining his artistic vision. We strive to embody that support for each other across our various projects,” Mona adds.

The Brutalist is set to release in Indian cinemas on February 28.

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