Driector and writer duo, Brady Corbet and Mona Fastvold said they cried A LOT on set of their brand new Oscar-tipped movie, The Brutalist. It's public knowledge that King Charles is not a fan of Brutalist architecture and Brady had his say about that royal opinion at the UK Special Screening at Picturehouse Central in London's Piccadilly. Report by Jonesl. Like us on Facebook at http://www.facebook.com/itn and follow us on Twitter at http://twitter.com/itn
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00:00You're never like, you know, moved by your own work ever. This guy, I don't know, he's
00:05just heartbreaking.
00:06I have a cigarette, a drink.
00:08Make love?
00:09Yeah.
00:10You can f*** off.
00:11Hello, I'm Lucy. How are you doing?
00:13Hi, Lucy.
00:14Can I just begin by saying congrats, guys. How was the celebration this afternoon when
00:17you found out that I've got my jacket off you today?
00:20It was nice. We had a glass of champagne.
00:23We did a lot of more interviews, but we had a little bit of celebration.
00:28Another way that you're putting Brutalism on the map, our very own King Charles is not
00:32a fan. Have you heard that?
00:34I haven't, but he can f*** off.
00:36He said it's a great role.
00:38He doesn't like modern kind of structures like that. Have you fallen more in love with
00:42just structures and things, especially in London? Because you went to the Barbican today.
00:46Oh, so beautiful.
00:47How do you feel about everything you see?
00:49It's incredibly moving. Also, I was at Marcel Breuer's flat at the Isakson Flats, where
00:53also Agatha Christie lived and Laszlo Moholy-Nagy. You know, I love London. It's an amazing city,
01:00and we did our post-production on the film here. This was a UK co-production, so this
01:05is actually a particularly moving evening for us because we get to share it with our
01:08UK team.
01:09Amazing. When I came out of the cinema, I was looking at everything way more in depth
01:13than I looked at it before, looking at building shapes and sizes, and hopefully it's going
01:17to really inspire some architectures out there. How do you feel about that?
01:20Really wonderful.
01:21Yeah, I mean, you know, there's been an extraordinary reaction from a lot of architects that really
01:28informed this movie. I mean, Daniel Lipskin, who is responsible for the Jewish Museum in
01:34Berlin, as well as, of course, One World Trade Center in New York, wrote a piece about the
01:41film that for us was extremely validating because we did really do our very best to
01:47acknowledge each part of a very, very rigorous and demanding process.
01:52And I think the length is perfect. I know it's long. Everyone's talking about it, and
01:55I loved the break. Thanks for that. What ideally should we be doing in that break, do you reckon?
02:00What's your message to audiences?
02:02Have a cigarette, a drink.
02:04Make love.
02:05Yeah, make out.
02:07A bit of a quickie.
02:09A bit of a quickie.
02:10Yeah, a bit of a quickie.
02:11Although I hear you've got a half an hour break tonight, so there you go.
02:15And I've got to ask you about Eugene. What an incredible man. I just felt everything
02:21with him. How on earth did you cope with- You must have used a lot of tissues on set
02:25crying at this man. He's amazing.
02:27You know what? Actually, we did. Like, that never happens. You're never, like, you know,
02:33moved by your own work ever. This guy, I don't know. He's just heartbreaking in the movie.
02:38I mean, I love the entire cast. They're all so great that they start to cancel each other
02:43out.
02:44How did you feel that everyone thought this was the biggest production ever? I spoke earlier.
02:48Apparently, it wasn't actually that big in regards to scale of things.
02:52Yeah.
02:53How did you do that? Was it Lego?
02:55Well, kind of. I mean, you know, there's a lot of old school techniques. I mean, the
03:00building was, you know, it's a combination of things. It's a practical model as well
03:06as, you know, a piece of the building which was actually built to scale and then extended
03:11digitally and post. But most of the tricks are, you know, have been around since, you
03:16know, Star Wars. I mean, even long before that.
03:20Yeah.
03:21Metropolis.
03:22Love that. And when you win the Oscar, are you going to cry? Who are you going to thank?
03:25Have you practiced your speech?
03:26Oh, who knows? That's very sweet to say, but-
03:28Don't be so modest. Come on now.
03:30No, no, no. For sure. I mean, you have to understand that as recently as four and a
03:33half months ago, this film had no distribution and I was actually being told that, you know,
03:39specifically that the film was undistributable and that, you know, it would never work. It
03:44wouldn't happen. So the whiplash that we've been experiencing in the last four months,
03:49it's been, you know, it's been great, but we're still, you know, getting over the PTSD
03:54of the last seven years that it took to get the movie off the ground, so-
03:57Are you smucking the back door?
03:59Yeah, we smuggled the baby across the border.
04:02Look at you now. Thank you so much.
04:04Thank you so much.
04:05I really did love it. Thank you.
04:06I really appreciate it.