Brady Corbet and Sean Baker on Why It’s Hard Shooting Movies Like ‘The Brutalist’ and ‘Anora’ in America and Why Obsessing Over Box Office Is Trump Coded
variety.comBrady Corbet had to brace for one nonetheless, to complete his ambitious and impressively inexpensive “The Brutalist” — a three-hour-and-change epic made for a measly $10 million.
The expansive story of a Hungarian architect and his haughty patron required Corbet and team to shoot in the marble quarries of northern Tuscany — where rockslides constantly shift the landscape. “Mother Nature is pissed,” Corbet exclaims to his friend Sean Baker, the writer-director of this year’s Palme d’Or winner “Anora.” Baker is used to outsmarting forces of nature to deliver his microbudget indies (like “Tangerine,” “The Florida Project” and “Red Rocket”) to the world.
For “Anora,” the tale of a hopeful sex worker’s unhinged affair with the son of a Russian oligarch, he found himself “making, borrowing and stealing” whatever he could to get the project across the finish line.
This included casting civilians with no prior acting credits in key roles, raiding the diners of Coney Island and shooting guerrilla footage of New Yorkers in their element.
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