The Brutalist is bleak and beautiful at exactly the same time. Jett is ready to call it magnificent. Gareth is almost there. Their disagreement opens into a larger conversation about ambition, architecture, history, suffering, and what happens when monumental acts of creation are built on lives that refuse to fit neatly inside them.
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Oh my goodness, folks.
I'm so excited to talk about The Brutalist. Gareth, dear listeners, it's a film that answers that immortal question.
What if a director with the skills of a Francis Ford Coppola also fought against Ben Kingsley in that Jonathan Frakes Thunderbird movie? Yes, we're talking about actor-director Brady Corbett's, The Brutalist. I'm Jett Loe.
This is The Film Talk.
I'm Gareth Higgins. Is it pronounced Corbett or Corbet?
I believe it's Corbet.
I should at this point say that the conversation never ends. Well, okay, The Brutalist. Dear listener, if you've seen it, you already know.
And if you haven't seen it, I hope this conversation will help you to decide if you want to. And I hope that you will, because no matter what else The Brutalist is, it is cinema the way I remember it being, the way I want it to be.
Not every movie, not every movie has to be escapism, and not every movie has to be profound and deep and epic and haste as if the director and the editor actually know what they're doing.
But it is nice every once in a while for a movie to come along that feels like some consideration and thought has been put into it. And I don't know, what's that baseball metaphor? Do you aim for the fences?
Do you pull with the punches? Do you drink the Kool-Aid? What is it with the swing for the fences?
You swing and you miss.
But then later, perhaps years later, then to put it in the net. Absolutely.
Folks, I could describe to you the plot of The Brutalist, but it would only take 10 seconds.
My stepson said what it's about, and my wife started to describe the plot. Oh, it's a rock. I said, no, no.
I looked at my 12-year-old boy and I say, Gavin, it's about immigration, capitalism, prejudice, the struggle to make art, addiction, the inability to love, even when you feel you should. Italian marble, the joy of jazz clubs.
How abuse continues in a family. At that point, Gavin, you wanted off halfway through that spiel. I think we got a clip.
In this scene, just for folks listening, we've got Guy Pearces, the wonderfully named Harrison Van Buren. He represents all of American capitalism.
Telling the impoverished, Holocaust surviving, brutalist architect, Laszlo Toth, that he's got a commission for him. They're standing on a hillside. It's cold and they're in the darkening gloom.
Let's listen in.
It is no coincidence that fate brought us together on the eve of my mother's death. I'm good at reading the signs.
Sir, I do not know what the commission entails.
We'll talk about the details at home which will be well compensated. And also, you'll be given a place here on the property to live and work. I think that residing here will allow you the time and the space to conceive of it properly.
And your family, should they arrive, they're welcome here, too. What do you say? I would like to draw something and present it to you.
You'd like to win the commission. All right, you can do that. It's cold.
Let's return inside. Come on.
And that was The Brutalist. So here's the thing, Jett, you've already said what it's about, and you're right.
I mean, it's about power is what it's about, and manifested through the indescribable horror of the Holocaust, and then the post-Holocaust experience that a lot of people had, where they had been separated from their loved ones during the Holocaust,
maybe sent to different camps. And it might have been years, not only before they were reunited, but before they even knew if the other one was alive.
And that alone, the fact that this film conveys in the, there's two central relationships in this film, but the central marital relationship between Felicity Jones' character and Adrian Brody's character, that it conveys the truth of what such
despair could feel like and that the reunion can be lovely, but it doesn't mean that everything's gonna be plain sailing just because you've discovered that each or other is still alive. The film is really actually very honest about their marriage
and deeply moving. It's also very honest about the way that unearned privilege can manifest in ridiculously exploitative behaviour on the part of those who hold it. And I'm sure you and I have some unearned privilege.
And I know that I'm on a journey. I hope everyone does have a journey.
When you say privilege, isn't the nature of privilege that it's unearned? Otherwise it wouldn't be privileged?
No. Well, you know, that might be a semantic argument. I can think of things where people have earned a distinction that grants them certain privileges in society.
But certainly, the way our culture maps who's deserving of this is totally screwed up. And I think it may be harder for people to face their slash our unearned privilege, because it comes as part of the package.
I have known very wealthy people who've been extremely kind and generous. I have known some very wealthy people who seem to be clueless about the capacity of other people to get by. The Harrison Van Buren character.
Again, that name.
Wait, I gotta stop here. Harrison. Here's the thing.
I just say one thing. I want to interject one thing. And maybe I think you'll agree.
So in the name like Harrison Van Buren, which again, sounds like the name of every fictional president that's involved in some sort of cover up in the 70s.
I love the fact that that name is very on the nose, but I love the fact that this film does this rare thing where it's both got the metaphors, which are extremely clear. Like if you come out in the Statue of Liberty is upside down, right?
Wait, wait, wait, hold on. But I'm just saying, but these metaphors, it's very, you get it right away. It's not subtle.
The wife literally who's had been a wheelchair the whole movie at the end, she stands up for her husband literally.
And so it's on the nose, but then at the same time, because it's done in his vignette structure, and it creates these gaps that allow the viewer to fill in the majority of the film with their own imagination.
So it's both encouraging and your own imagination while being incredibly interesting in the act in the absence of subtlety. Do you know what I mean?
And that's an incredible combination that I've, it's like the best high school textbook I've ever read.
Well, I think that's an interesting point. There's nothing subtle about a massive block of marble, right?
And there is a moment in this where it's one of many moments in this film, that's just exquisite or something I guess I'd never seen before appears on screen.
And if the definition of originality is that the first person to take this thing and that thing and be the first to put them together, there's a moment where a former member of the Italian Resistance to Mussolini, who now somehow, I don't know if he
does he own this marble quarry? Is he part of a collective of bandits who own the marble quarry?
Something along those lines.
Something like that. He finds a bottle of water that just happens to be sitting on top of a slab of marble that's halfway up a mountain, and he pours the water over the side of the marble, so it just drips down. I mean, it's exquisite.
I've never seen that before. It's beautifully subtle. And it's a strange thing because this is not a subtle film.
Generally, it's an epic film. It's like looking at a cliff and watching the sun change, the wind change, pigeons fly past it. Every scene is one cliff after another.
It's shot in VistaVision, and I hope, Jett, you'll elaborate on what VistaVision is for people who don't know.
It's worth seeing just because the ambition behind it, the visual ambition behind it, the, let's call this, I want to call it the sonic ambition, because it's one of those films that feels like a symphony.
Before we came on Air, Dear Listener, we were both singing to each other, the theme tune to The Brutalist. It's so memorable. And it's just an epic on the same kind of scale as a film like Ryan's Daughter.
No, it's also a film that stimulates the part of my brain that is nostalgic for the way movies used to feel. There are scenes in this film that are so resonant, so reminiscent of other scenes in other movies, but I can't quite tell.
Did Brady Corbett or Corbett? Are you sure it's Corbett?
I'm not sure of anything in life anymore. My new path forward is to embrace the uncertainty, write it like Kyle McLaughlin in Dune.
Write to Sandworm? Okay.
Write to the world.
Yes, yes.
I had a spare few minutes last night, dear listeners, so I took the Toto soundtrack from the Sandworm ride and the Dave Lynch, and I played it while watching Dune 2. Fantastic.
Okay. Let's call the co-writer and the director of this film, let's call him BC. Let's call him BC.
I'm not sure if he's explicitly referencing these films or he's just so permeated by the DNA of them that the shaving scene from The Untouchables is referenced.
The light in the Well of the Souls, I think it's called in Raiders of the Lost Ark, where Indiana Jones, another Harrison, holds up that kind of stick thing and the sunlight comes through it.
Are you talking about the Staff of Ra?
The Staff of Ra. Yes. Forgive me.
I'm not an expert on my ancient Egyptian fantasy. Tom Fuller. Arcana.
The last scene of the French Connection is the last scene of the first part of this movie, where you remember where Popeye Doyle was trying to chase the bad guy and he's in this dank basement-y underground cellar thing. There's so much of this in it.
You'll just enjoy it on the basis of having those parts of your brain stimulated, but remember the way movies used to feel.
It does have this extraordinary opening shot, where there's a hand-held camera, massive camera following Laszlo Toth out of the bowels of the ship that he has come from Hungary over to the United States, and his first view of the Statue of Liberty is
that it's upside down. Again, not a subtle image, but it doesn't have to be subtle. This is much more like a Shakespearean drama or a Greek mythic story painted with broad brush strokes.
It's ugly and beautiful at the same time, and it left me feeling, I guess, the way I felt after seeing the film that made me think about the most, and I'm not quite sure why, is Once Upon a Time in the West, which is a film about the foundation, the
making of something, and the awfulness that the character we identify with the most has to go through, not only to survive, but to be able to make something worth making. Last thing I'll say, at this point, Jett, eager to hear your thoughts.
I get the sense that you felt some fondness for this film, that it brought a twinkle to your eye and a smile to your face.
Last thing I want to say about it is cinema as an event has been diminished in recent years by fast moving visual spectacle, Marvel movies being the most obvious example.
I guess even the Avatar sequel, which felt very much like simply a slightly more technologically adept version of the first one. This is cinema as an event that's worth your time.
Even though in the end, for me, I'm not sure there's as much to it as the acclaim is giving it. It's pretty unpleasant. It's a pretty bleak experience.
It's not an exhilarating experience. For me, it was not exhilarating. It was pretty bleak.
I'm open to be changed. I know I will be illuminated by whatever you have to say, Jett.
I think you got to under promise and over deliver. So please, you don't need to tee up any sort of incredibly incisive, extraordinary thoughts I'll have. We had very different experiences, clearly, because I didn't find it bleak at all.
I felt energized. I'm energized by the score. I've been listening to it nonstop by Daniel Bloomberg.
The film is, it feels like a living, breathing work of brutalist architecture. It's like great slabs of meaning colliding into each other and then making new forms. That's like the vignette structure where we leap in time.
Staud on Vista Vision, Gareth mentioned that it's a film format that goes horizontally to the camera rather than vertically, which allows more space. I saw it projected in 70 millimeter, which is the standard thing. It shoots 65, you projected 70.
I saw it on an IMAC screen. Fantastic. And the reason why it evokes, Gareth is absolutely right.
It evokes a time for someone of our age, Gareth, our generation, when movies matter. That movies had the courage, not all of them, but like a good 10%, 5%, let's say 5%, had the courage to ask questions rather than give you answers.
So it's asking a bunch of questions. This film, I have had more conversations about this movie with like friends and family than any other film in years. People want to talk about it.
People who've seen it want to talk about it. And there's been a huge amount of nitpicking in these conversations. And people say, well, Jean, maybe there need to be another scene with his friend Gordon at the end.
We don't see, we don't really get a send off for him. Or I don't know about his cousin, his wife, Tilo's wife betraying him. Should there have been another scene there?
And I realized while having these conversations, I said to myself, I wonder if this is what it was like when you left the cinema after seeing The Godfather.
Before it became The Godfather, this famous one of the great American films, in those first few weeks or 2001, before they came canonized, you have plenty to nitpick in something like The Godfather or Godfather Part II.
I'm not clear about like, wait, why did Frankie Five Angels do that? That's not clear narratively what's going on there. And that's the way it feels about The Brutalist.
I think this film is just gonna, its reputation is just gonna grow and grow and grow. If it is an example, I think, of the thing in itself, right? It's about, it is becoming the thing it says it's about.
It's about this form of architecture. We need something strong will to bring people together. The same thing happened in this film, I feel.
Like the incredible score, which doesn't sound like a traditional film score, and the old kind of John Williams way we think about it was done by this guy.
He's only done one other film before, Daniel Bloomberg, but he just moved to Hungary and they lived there. He lived with Bradley. Is it Bradley Brady?
Brady Corbetti. We already know this guy's name. BC.
It doesn't matter. It doesn't matter. He'll be dead and gone, but the movie may live on.
Nobody will know in the year 3000 how to pronounce his name, right? But he lived in Hungary and they lived together. In fact, those versions of the music, they would play on the set.
So that extraordinary opening scene Gareth talked about, with the film, the camera is very close in to moving bodies and we burst out into the ship's hold and see the Statue of Liberty upside down.
They were playing the score for the film at that time, some version of it that was composed as the composer Daniel Bloomberg was living with BC. So it's intensely collaborative that way. It's an intensely collaborative work.
And don't forget, this is also co-written and created in some form with the director's wife as well. So it feels like you're watching real life collaboration, watching a film about collaboration and it's a genuine collaboration at the same time.
I know you said you've had a bleak, but for me, just as someone who grew up loving cinema, I was exhilarated because the scene after scene is extraordinary. The scene where Laszlo played by Adrian Brody in the Adrian Brody role. It's amazing.
I thought you can't be written. This must be written for Adrian Brody. He's like, no, actually, when they were shooting before COVID happened, it was going to be Joel Edgerton.
I'm like, the guy from the mixed martial art movie? It doesn't make any sense. But anyway, we can talk about it another time.
But the scene where him and his cousin greet each other, right after Laszlo gets off the bus and they're embracing, they're kissing each other and just the emotions, the joy and the release of fear and terror and uncertainty. It's extraordinary.
There's two, I guess you would call them, diminishes them by calling them sex scenes. There's two of them between Laszlo and his wife. They are extraordinary.
They're done an extreme close-up. They portray intimacy as you don't see it. Extremely well done.
It feels raw, it feels honest, it feels uncompromising. And this film was shot in 34 days, which if you know anything is mind-boggling and was shot for $10 million. You ever see The Terminator, Gareth?
Terminator, mid-'80s, James Cameron. That's a film that's clearly low budget, okay? That film is grainy.
It's got Dick Miller of all people. Any one of these guns is perfect for home defense. It's a low budget.
I think you mean The Great Dick Miller.
The Great, yeah, but when you see Dick Miller, you're not seeing a big budget movie.
I know he's in Gremlins, but you know. So if you adjust for inflation, the Terminator would cost about $18 million today. It's not that Terminator looks cheap.
It's just clearly a very grungy, low budget movie. So this film was made for about half the cost of the original Terminator. It's extraordinary that they did that.
I think this result of years and years of planning. This is a work that's been thought about and planned and developed for years and years. And it comes through in every frame.
Extraordinary.
So you liked it? It's not bad. It's not bad.
All right, a couple of questions.
I'm here to answer all questions.
So can you give the dear listener, other than those who already know, a little bit of a primer on what VistaVision is and why it's different from other large formats? My understanding is there hasn't been a feature made in VistaVision since 1970.
Why is it different and what should people be looking for when they are watching a film shot in VistaVision?
I mean, you can just Wikipedia what VistaVision is, but the main thing is, although they can't, I mean, you don't need me. The thing is, is that the frame-
Wikipedia is not going to give your answer.
The frame is larger. Okay, so you got more space for the photons to hit. The photons are whacking onto a piece of film.
So you're going to get the way that the image is captured is more expansive, and it also has more detail, but it's more expansive.
VistaVision, because of what happened with the television, televisions became cheap in the 50s, compared to how much they used to cost.
So people stopped going to the movies, so cinema had to fight back, and they came up with a whole bunch of different things. They had Technorama, Technoscope, Todd Ayo, things that say, you're going to be in the forest.
James Bond movies, people forget, James Bond movies were travelogue movies. You're going to go to Japan and see a similar wrestling match. You're going to go to Turkey and see the canal underneath the city.
That was part of the thing. With these large formats, it's transported. Now VistaVision maybe didn't really succeed.
I grew up knowing VistaVision is a special effects format. We can call it a VFX. You would shoot your special effects.
I'm using that term a little bit incorrectly. You would shoot your stuff in VistaVision and then you'd scale it down into 35.5. You get more resolution basically.
You shoot stuff on an iPhone, the chip is very small. You're going to get some fine photos, but you shoot with something that has a much larger sensor, you're going to get a completely different feel. It's more immersive and more detailed.
That's what you get. You feel that it's more immersive and detailed when you're watching something like The Brutalist.
You absolutely do. And it doesn't have to be kind of self-consciously, quote unquote, epic images that do that.
When they didn't have the money.
Well, but I mean, there are.
Well, the train shot. If you know it's low budget, if you know it's low budget, you can tell because it's shot really close and you don't see a lot of extras. So there's not the David Lean huge crowd.
They're very careful. They're very deliberate. So that's why we had that overhead shot of the train, which is an extraordinary shot.
Yeah, it is.
I'm thinking of a shot where they're in the marble caverns and it's a shot that's very reminiscent of that shot in the heat whenever De Niro walks into his apartment or his Malibu beach house, it would appear.
For the first few seconds, you cannot tell what size anything is until he puts, I think he puts his wallet, maybe his gun down on a table, and that's what gives you perspective.
Very similar shot where Laszlo Harrison and the Italian resistance owner of the marble cooperative.
That's your favorite character, isn't it? Face it, that's your guy.
I love that character.
He's fantastic.
They are walking into a cavern and you get a sense of this enormous scale.
But only one or two scenes later, there's a bit of a party in a little Italian village and there's some dancing, and all of a sudden you're in a Fellini or an Antonioni film, and the scale is about the faces and the bodies of the dancers on the
screen. This is why, dear listener, even if you don't like the idea of this story, and please don't be put up by what I said about how I felt it was bleak, you've got to go see this in a theatre while it's out in theatres.
It is actually screening in IMAX in theatres in some places. Go see it in the biggest screen you can see it in, because I think it's one of those films that if you wait until watching it at home, you'll regret what you didn't see.
And to go back to something Jett already said, it is the thing itself. I've often quoted this Mike Cato, a Scottish film historian who has lived and worked in Belfast for decades.
He always used to say that the difference between watching a movie at home and watching a movie in a theatre is like the difference between going to the Egypt Artifact Room in the British Museum and going to the pyramids.
It does give you a facsimile of the experience. Yes, great that we live in a time when there is more access to more films than ever.
Of course, Jett, you didn't mean or I'm sure you didn't mean earlier that there are no films out there that are about something or have the courage to be about something.
What's different with this is it's really rare when it's a large-scale film that has attracted this much attention and that it's got 10 Oscar nominations. People are talking about it.
There's a hunger for this. Again, a film that asks questions, it does it on a large scale and swings for the puck or whatever. Skates to where the baseball is going to be.
There's a hunger for that. To your point about scale, there could also be a reference there to Citizen Kane. There's a great shot in Citizen Kane in which we think we're in a regular office, but to emphasize that we're in a whole different world.
The character, I don't recall, maybe it's Charles Foster Kane, he walks over to a window, you realize the initial shot is just a window at the back wall.
As he walks, his figure gets smaller and smaller and the window stays the same size, but you realize that actually the room is like 15 times larger than you thought. So the film is full of, it's really informed by all that good stuff.
Well, and it can make you feel like your life is actually worth more. And so here I have, there's three, there's three sentences left. Three sentences.
And two of them I want to, one of them I want to ask you about, one of them I'd love us both to talk about, and one I'll just cite. And I'll say that first of all, I have a dear friend, you've met him actually, Jett. His name is Colin Fraser Wishart.
He's a Scottish architect photographer. We stayed up until two o'clock in the morning watching Heaven's Gate with him in Belfast almost 20 years ago. And Colin is a true mystic and his photography is exquisite.
He said to me once that his architecture professor said that the purpose of architecture is to help us live better. And obviously that extends to all art, to all storytelling. And when I heard that, it changed my...
It clarified to me why there's architecture that I don't like and why there's architecture that I do like. And why some cities feel like they're the last place I want to stay in.
And why some cities, I'm thinking Medellin and Bogota in Colombia are the two best examples of this because the public art and the public architecture in those cities was made with the conscious intent of helping people live better.
You and I grew up at a time, certainly, and I know you didn't grow up where I grew up, but I grew up at a time when packing as many people as possible into high rises was the name of the game and demolishing old buildings to make room for kind of a
sardine type living. I see a pendulum swinging back. So that's the first thing. The purpose of architecture is to help us live better.
You had an interesting look on your face when I said that. I suspect that may not align.
I put a qualifier in there. How about the purpose of architecture is to make us want to live better?
The sound I made there may have been an overreaction, but say more about that. Because it can push us to take ourselves more seriously. That we're worthy.
That if you walk into a beautiful building, you feel like if I'm worthy of this, how much else might I be worthy of?
It's one thing to walk into a space and you sit down and then you're subjected to something, or you take in something on a two-dimensional screen, right? Which is what The Brutalist is. It's projected.
It's an image and sound on a two-dimensional screen. But the power that three dimensions have, that you occupy, is something else entirely. I understand you talk about high rises.
I mean, there was this follow up on Le Corbusier, who in some ways was Brutalist architect, who said, how's this machine for living in?
This is for a reaction against all sorts of other stuff, and they'd start building these high rises, and they're appalling. And so now there's a reaction against that idea that they're a machine for living in.
They could be a device for exploring the nature of humanity. Is all artwork at some level is an attempt to try to understand who are we and why? Or just ask why?
Why am I conscious here? Why am I conscious now and I'm not going to be conscious? How is such a thing possible?
Laszlo in the film, The Brutalist says, he thinks his buildings and he's maybe being naive and self-abrandizing thinking that his films will outlast Stalinism or the vagaries of the Cold War.
Their devices, if they're not living and breathing like we are, perhaps they mock us for living and breathing if they're going to stand after we're gone.
Is the desire to destroy buildings a desire to reassert oneself's primacy over one's own mortality? These are big questions. What else you got?
Worshipping only at the altar of the self.
Is that your new book, Tino?
A how-to guide.
We're all on a journey. We're all on a journey.
Love you, brother. What's the next question? What else we got?
So, that's what's happening.
And that's the shadow side of what's happening at the macro level. And not only the society that you and I share, but in other parts of the world today. And one of the reasons the film is important.
Agreed.
Would you rather be a Harrison Van Buren, a Laszlo Toth, or a Mrs.
Toth? And actually, I'd rather be the Mrs. Toth.
I'd like to be the Italian guy.
I want to be the Marvel guy. I'm partying till 3 or 4 o'clock in the morning. I killed a bunch of fascists.
I would rather have just held the fascists accountable rather than dropping stones on them.
I just realized something.
What an extraordinary achievement to make this film for $10 million. Then I realized, I mentioned the top of the show, Bradley Corbett is an actor, is a working actor. He was young Alan Treacy in the Thunderbirds movie directed by Jonathan Frakes.
Jonathan Frakes, of course, played Riker in Star Trek. He was known as a director. Maybe he still is.
He's still working as True Takes Frakes because he just works so quickly and so economically. If you're a young Brady, you see Jonathan Frakes.
You've learned from Riker. Make it so.
That was not Riker. You're there, you learn at the feet of the master. That was Captain Picard.
Captain Picard.
Jonathan Frakes is Riker.
Yes, but you said make it so. That's Patrick Stewart's line.
Yes, make it so Riker.
No, no.
He's saying it to Riker. Who's he saying it to? Who's Picard saying it to?
He's not saying it to himself.
Jonathan Frakes kept phrasing Star Trek The Next Generation is the immortal, when the train comes in, everybody rides. That's from the episode in which he had to gamble at a craps table in order to win freedom for him and his crew members.
Lest I be accused of worshipping only at the altar of the self, I was invoking make it so as the thing that's always said to, to takes Frakes. And clearly, when he directs, he makes it so twice as fast as anybody else except Clint Eastwood.
Final thoughts?
Final thought is this, okay? And spoiler alert, dear listener, it's the destination, not the journey. What's going on there for you, Jett?
So is that the last line in the film?
It's the destination, not the journey? Meaning these works stand. What does it matter what Laszlo went through?
His horrible, tortured life.
At the end of the day, he has these incredible works that are there that inspire people, that people celebrate, that perhaps makes them better humans as they wander in, that helps them reflect on the terrors that we have inflicted upon each other and
pointed a way forward towards something better. That's what matters. You're going to be gone. I'm going to be gone.
The people that made this film are going to be gone. This film will last.
I like it as a decisive ending to the movie.
I don't agree with the sentiment, but there probably does need to be something like an overcorrection of the way it's the journey, not the destination gets used, frankly, as a justification for lives that are less meaningful or kind of a way of sugar
coating suffering. I like it in the context of this film. Certainly, I like it in terms of the idea of building something to be shared. I mean, that's something we haven't mentioned.
The primary project that he's engaged in as an architect in this film is a community center, being funded by someone who would want to be seen as a philanthropist, who's working out his own, I mean, something I said about Van Buren working out pretty
ugly trauma from his own upbringing which has corroded him and he has projected outwards into mistreating other people in some of the most egregious, cruel, violent ways imaginable. But the project is a community center that we find out at the end is
emblematic of something beyond words, and that is the love that can keep people alive even when separated through the most unimaginable oppression. Then it has a comedy song over the end credits, which is just magnificent.
Why don't you say something about the song?
Well, it's interesting because a lot of people are wondering, what is what the song doesn't make any sense.
It's obvious what the song makes no sense.
It is obvious. The refrain is something like one for them, one for me. That's a famous thing in Hollywood.
Oh, I'll make this blockbuster, silly film. I'm going to make an indie film. And again, it's about your Brady Corbett being on episodes of CSI, Wichita, whatever he's doing.
And then in between that, he makes this incredible work. I think it's very clear and it's a lot of fun. And it also fits in with the film, right?
Because he do one for them, he does a library, and then he creates this other extraordinary work which is a community center. So it's pretty clear. It's fun and it's cheeky and it ends the film on a high note.
Folks, The Brutalist is magnificent, it's fantastic. It's bleak and beautiful at exactly the same time. Go see it.
Folks, The Brutalist is nearly as good for me as it was for Jett.
But you should still see it and make sure you see it in a theater. You won't, well, I can't tell you if you won't regret it. Who am I to tell you?
It would be like worshiping at the altar of the self. I hope you won't regret it.
I've already pre-ordered that book on Amazon. I can't wait to see a how-to guy. Folks, thanks for listening.
You can always subscribe to get extra bits of business on our Patreon page. We go into patreon.com/thefilmtalk and we're on Facebook for now. I don't know, social media.
I'm not a fan, but we're there. We're there at facebook.com/thefilmtalk. You can always contact us at info at thefilmtalk.org.
I've enjoyed our conversation, Gareth. I've been Jett Loe.
I've been Gareth Higgins. Keep building good things and we'll keep talking. Next time.