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Brady Corbet’s The Brutalist is more than just a movie. This is a hard-fought passion project that overcame every conceivable obstacle to become a 215-minute epic. The film, which depicts the life of Hungarian architect László Toth (Adrien Brody) in post-war America, took seven years of persistence and was realized on a low budget of $10 million. From pandemic-related delays to recasting the entire ensemble, the production of The Brutalist was a constant effort of determination and ingenuity.
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When The Brutalist was first introduced to the European film market in early 2020, it featured a strong cast including Joel Edgerton, Marion Cotillard, and Mark Rylance. And then…the world shut down. COVID-19 brought the project to a screeching halt, causing delays and scheduling conflicts that forced Corbett to rethink everything.
But if there’s one thing Corbett has proven, it’s that he doesn’t quit. Adrien Brody, who is the son of Hungarian immigrants and has a deep personal connection to the story, plays the main character, László Toth. “I knew what to give,” Brody told The Hollywood Reporter. “My family faced the challenges of being immigrants and foreigners and I saw firsthand how difficult it was.”
Guy Pearce was signed on to play Harrison Lee Van Buren, László’s wealthy benefactor with questionable motives, and Felicity Jones played László’s wife Erzsébet, despite learning Hungarian for the role. I participated in it.
Director Brady Corbet (center) on the set of “The Brutalist”
Production disruption and patience
Even after filming resumed in Hungary in 2023, making The Brutalist was anything but simple. The pandemic continued to loom during filming, forcing Corbett and his team to adapt on the fly. Filming plans in Poland were interrupted due to border closures, necessitating a move to Hungary. In Hungary, Budapest and its surrounding countryside replaced rural Philadelphia and Pennsylvania in the 1950s. Juggling constant logistics added stress to an already tight schedule.
Production suffered further significant delays when Jones announced her pregnancy. Rather than replace her or change her character’s role, Corbett chose to pause filming until she was ready to return. The decision was yet another test of patience for a film that had already been in production for years. “I’m pretty used to getting things resolved, but I’m also used to getting things back on track,” Corbett told Screen Daily. “I was pretty ruthless.”
Corbett’s tenacity extended to weathering the harsh financial pressures of independent film production. With a tight budget of $10 million, we had to balance ambitious creative choices with practical limitations. Filming was condensed into a grueling 33 days, with the cast and crew working long hours to meet the schedule. Reflecting on his nervousness, Corbett told Slate that an extra $1 million or $2 million “would have made the whole process a little easier.” He recalled working long hours to perfect the film’s mix. “Instead of working 24 hours a day, we probably added another week or so. On our last day, Mixer and I showed up at 8 a.m. and left at 5 a.m..”
Despite these challenges, Corbet’s collaborative approach kept the project moving forward. The international co-production brought together resources and expertise from the United States, United Kingdom, and Hungary. Producers and investors, many of whom had worked with Corvette before, remained committed to the project even though the schedule was years longer than originally anticipated.
Cinematographer Lol Crowley on location filming “The Brutalist”
Commitment to vision
While many filmmakers might cut corners to ease the tension, Corbett remained stubbornly committed to his vision, often making bold choices that increased the complexity of his work. One of the film’s most memorable scenes was shot in Italy’s Carrara marble quarry, where Michelangelo famously sourced materials for his sculptures. Financiers questioned the cost of filming in such a remote location and suggested a granite quarry could serve as an alternative site. Corbett rejected this, arguing that the sequence’s historical and thematic resonance was non-negotiable. “I thought, ‘Well, it’s not exactly the same, but I think it’s really important that every frame is imbued with meaning and thought and ideas,” he told Screen Daily. Ta.
The Carrara sequence is not only a visual highlight, but also a symbol that connects the film’s exploration of power, control, and exploitation to the natural world. The quarry, with its huge carved walls, served as a solemn backdrop for the story’s themes of possession, both material and human.
Corbett also pushed the boundaries with its selection of VistaVision cameras, a large format film stock that was widely used until the mid-20th century. Although this format allowed for breathtakingly detailed images, it also presented significant challenges. The equipment was bulky, the film stock was heavy, and post-production required specialized equipment. “This wasn’t a Christopher Nolan movie, so we weren’t always in the most high-profile establishments,” Corbett told Screen Daily with a laugh. “We were mainly editing films in basements around the world.”
Production designer Judy Becker, an Academy Award nominee and star of films such as Brokeback Mountain, Carol, American Hustle, and The Fighter, brings a film’s grand vision to practical ingenuity. I helped make it take root. Becker created giant facades for key locations, including the Pennsylvania Institute, which was commissioned by Guy Pearce’s character. To stretch the budget, she used techniques such as forced perspective to make the sets appear larger and more impressive. “Judy wasn’t afraid of being on a small budget,” Corbett says. “She prioritizes great projects over cash.” Her designs not only capture the austere beauty of brutalism, but also reflect the emotional weight of the stories.
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hard earned reward
The tremendous effort behind The Brutalist has gone unnoticed. The film premiered at the 81st Venice Film Festival, where it won five awards, including the Silver Lion for Best Director. Since then, the film has continued to win awards during its international expansion, including Golden Globe Awards for Best Drama, Best Motion Picture (Drama), Best Director for Corbett, and Best Actor for Brody. Masu. It also received nine Critics Choice nominations and was named one of the top 10 films of 2024 by the American Film Institute.
And with this year’s Academy Awards still to be held, the film is expected to receive great reviews. Whether it wins the Best Picture trophy or not, Corbett’s unwavering dedication has established The Brutalist as a standout in independent cinema.
When asked for advice for aspiring filmmakers, Corbett shared this guiding principle with Slate: “You don’t have to compromise on what, but you have to be willing to compromise on how.” It’s a lesson in tenacity, creativity, and not letting anything get in the way of the story you want to tell, whether it’s a pandemic, budget constraints, or even granite.
