Tinseltown is a mini-universe of all things cinematic, but its miniature structure does not make it immune to the bigger problems of reality. If anything, showbiz’s challenges tend to get ten times as drastic because of the small-scale boxing with large-scale ripple effects. The reel life mirrors reality in more ways than one, and when the split grows, no bandaid can aid the wound. While actors’ frustration is one thing, a recent one comes from the directorial panel of Hollywood with Brady Corbet recently highlighting the prejudice of conquering the rollout of dramas as opposed to superhero films.
The Brutalist
director shed light on the variable moral standards of Tinseltown, and how it affects a director’s vision.
The Brutalist director, Brady Corbet illuminates the contextual morality of Hollywood
some seriousness onto the fold talking about the harsh realities of Hollywood in reception of certain genres like drama and superhero projects. Speaking of the newfound streaming frenzy, The Brutalist
director could barely make sense of the limitations in run-time, especially now that they have to work twice as much to ensure audiences get out of their couch to watch the movie on-screen.
I must report that THE BRUTALIST is an absolute banger
appreciate its patience, its visual splendor. that the film exists THIS WAY is exactly in line with tóth’s personal philosophy in regards to physical art that stands as authentically itself in spite of conventional tastes pic.twitter.com/IjBCpdFJob
— EJ Paras (@EJ_Paras) December 20, 2024
Corbet believes the rules are not one and the same for each and every genre because, in superhero films, viewers would watch “folks wearing tights and a cape”
for three hours and be fine. Yet, when a drama is made “about adults for adults by adults,”
a time-out of 90 minutes is considered more than enough. Baker could not help but agree as Corbet stressed how unjust the standardized practice is, including a certain runtime to deliver the project in a director’s contract.
Brady Corbet further weighed in on the trend of double standards in reception by unearthing the one ingredient that makes any film a recipe for disaster.
What is the one thing, Brady Corbet believes, spoils the broth?
In his conversation with director Sean Baker for Variety’s Directors on Directors panel, Brady Corbet gave pats to the Anora
filmmaker for the outstanding making of the film, despite the controversies that have engulfed its actor recently
. As the two engaged in a heated dissection of Tinseltown, leaning on the run-time limitations that come with drams specifically, The Brutalist
director named an element that practically catalyzes the need for the ask: boredom.
Its been about 10hrs since I saw The Brutalist on 70mm and words cannot describe what I saw. Breathtakin cinematography especially on the openin scene and in the quarry. A spectacular yet daunting tale (imo) about the human spirit and the way we create, endure, love and destroy. pic.twitter.com/vhQHgN2yvo
— Angel (@KrypticAngeI) December 21, 2024
According to Corbet, the first question that comes to his mind for viewers is not if they felt the runtime but whether they were engaged. The filmmaker admits the most important ingredient is time, and viewers are supposed to feel it while journeying through a character’s lifetime. This is why, anytime he felt the need to cut something out, the story felt “rushed
.” For both, this frenzied pace of contemporary cinema acts as a speed bump, jolting viewers out of the immersive experience, rendering it incomplete and unfulfilling for every party involved.
What do you think of Brady Corbet’s perception of Hollywood’s bias? Let us know in the comments below!
