Adrien Brody on His ‘The Brutalist’ Accent, Being “A Bit Concerned” About Filming in VistaVision and Why He Won’t Direct

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Adrien Brody expresses that as an actor, he’s open to working with different types of roles. However, at this moment, becoming a director is something he has no plans for.

The leading actor nominated for an Oscar at the films premiere shared during a conversation with Annette Insdorf on “Reel Pieces” at 92NY, that he’s decided to step away from wearing the creative director’s hat – even collaborative co-directing roles. He attributed this decision in part to the exceptional talent of filmmakers like Brady Corbet, admitting that it can be somewhat daunting to work with someone as skilled as him, according to his statement to the audience.

Although I’ve had a thrilling experience stepping onto the London stage for my debut in “The Fear of 13” last fall, I must admit, I’m a film enthusiast at heart. The allure of film’s enduring nature continues to captivate me, making it my primary focus moving forward as a gamer immersed in this creative world.

Acting in a play proved challenging due to my hectic schedule. I performed eight shows a week, with no breaks between acts, which was quite demanding. Simultaneously, I was promoting a movie that included intermissions. To top it off, I traveled back here and flew out to attend the Governors Awards in L.A., only to return immediately for another performance and perform seven more shows that week. Despite the exhaustion, I had an exceptional cast, the script was captivating, and the direction was superb, making the experience exciting. In summary, given the right film opportunity, I’d be open to taking on a play again.

He emphasized, “Just as I mentioned before, I appreciate the opportunity for deeply personal scenes – being able to spend time one-on-one with a character and feel those moments in a dimly lit space. Furthermore, there’s a certain charm in film’s longevity. It’s remarkable; it persists, it endures.

Occasionally, an actor might find it challenging to fully separate themselves from a character they’ve played, as Brody mentioned. He finds it tricky to step away from roles, whether on stage or screen. This actor, who has shared his struggles with anxiety and sleeplessness while working on specific productions, opened up to Insdorf about playing the role in The Fear of 13, where he would frequently awaken eight to ten times each night, reciting lines instead of sleeping.

He characterized it as one of just two instances when he experienced “utter sleeplessness” while acting, with the other occurring during the filming of the major production, King Kong. “I endured countless restless nights,” he stated. “One was working for about three weeks straight on King Kong at night, which was absolutely mad.”

(Note: The phrase “complete insomnia” has been replaced with “utter sleeplessness” to maintain a similar meaning and tone, but using more natural and easy-to-read language.)

During the majority of the remaining hour, Brody analyzed and discussed the filming techniques used by Corbet, other creatives, and himself for the movie “The Brutalist”. This discussion covered his accent work and vocal performance, which has been praised, with Insdorf once quoting a positive review from The New Yorker. However, the film made headlines last month due to an unexpected reason. The editor admitted that he utilized AI voice-generating technology to improve Brody’s and Felicity Jones’ pronunciation of Hungarian words during the movie.

The conversation failed to touch upon the debate, but Brody elaborated on how dialect coach Tanera Marshall and personal influences, particularly his grandfather, influenced his portrayal of László Tóth’s vocal characteristics in the movie. This character is a fictional Hungarian-Jewish architect who survived the Holocaust.

Brody shared that he was seeking a resource reflecting the speech style of the time when his grandpa immigrated, which happened to be a Holocaust survivor’s account. He dedicated each day and night to hearing his stories, noticing the subtleties in his language, and frequently finding similarities with how his grandfather used to express himself. This innate connection was something he carried within him. He considered it a precious experience and an opportunity to acknowledge their struggles, sacrifices, and resilience.

The conversation encompassed Corbet’s selection to film The Brutalist using VistaVision, a high-resolution widescreen format. Insdorf remarked that this format delivers clearer images than digital and hasn’t been utilized since the early 1960s. Brody found the choice remarkable, especially for an independent film with a $10 million budget. However, he also admitted to having some reservations about it due to its vintage nature.

The debate included Corbet’s plan to capture The Brutalist on VistaVision, an old but high-resolution widescreen format. Insdorf pointed out that this format produces sharper images than digital and hasn’t been seen since the 1960s. Brody appreciated the choice, given the film was an independent production with a budget of $10 million. Yet, he also voiced some worries because it’s old technology.

Brody described VistaVision as a horizontally positioned film magazine that offers extra image exposure. He noted it’s rather noisy, with a sound reminiscent of a sewing machine. The aesthetic is quite raw and industrial. Furthermore, cinematographers Lol Crawley and Brady employed the cameras in a way Brody believes is uncommon in other films. This method also seems to be period-specific. It possesses a distinctive style without distorting the image. It provides impressive depth of field, and it’s particularly effective for close-ups, even using it handheld for intimate scenes that give off an antique vibe.

He went on to say, “It’s not common, particularly in smaller, self-funded films. That’s because shooting on film is more expensive due to printing costs, and it’s also less convenient. It requires loading magazines, waiting for them to be reloaded, and you have a limited amount of film per day, which restricts the number of takes you can do. However, it was truly delightful.

Brody also shared insights about wrapping up The Brutalist in a mere 33 days. He remarked, “To give you an idea, without delving too deep, when we filmed The Pianist, it took six weeks of filming, with six days per week, and I was the only one on set during those shoots. Compared to that, this entire movie was completed in less time.” He added, “This is a significant accomplishment for any filmmaker, for all department heads, for the dedicated crew, and most importantly, for the actors who managed to stay focused and not miss a single valuable moment together.

The actor noted that the way the movie was filmed added extra stress to an already demanding procedure, but he appreciated how his co-star Corbet and the team pulled together. “Filming is permanent,” he stated, “and it’s a significant amount of pressure because it’s permanent, as you don’t want to miss the subtle details that should be present in these moments.” He continued, “It truly showcases the effort everyone put into supporting one another and the remarkable creative input made under tough conditions. Judy Becker, our production designer, constructed extraordinary sets from scratch with minimal resources.

In summary, Brody expressed appreciation for the fact that The Academy had taken a liking to the independent film, and he suggested that its success could indicate positive trends within both audiences and the industry. He stated, “It’s incredible how the recognition from the Academy brings attention to this movie. People all over the world will want to watch it, which is truly remarkable. This is exactly what we were hoping for, and I am deeply grateful for that.

During our conversation, the actor praised the piece, stating it touches on thoughts we all should ponder, and it’s a work of art, not commerce. He expressed his gratitude towards A24 for their exceptional distribution efforts, allowing this artistic film to succeed commercially. This blend of art and commerce is significant, demonstrating that audiences are intelligent and yearn for content that enriches them in unexpected ways, beyond the usual expectations from a theatrical experience.

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2025-02-03 20:26