0:00

Hi film fans, how are you? I

0:02

hope this finds you well and that

0:04

you have had a wonderful weekend. What

0:06

did you watch? Did you watch anything?

0:09

There is an abundance of things

0:11

to dive into to maybe help

0:13

you escape from everyday life or just

0:15

transport you off to somewhere new and

0:18

different. And it's that time of year

0:20

as well where the award season is

0:22

kind of, you know, getting towards that

0:24

moment of... revelation of who's going to

0:27

pick up what and then also already

0:29

kind of tips for films that we

0:31

should be looking out for this year

0:34

so it never really stops to be

0:36

honest which is great for us which

0:38

means we've got constant conversations. A couple

0:41

of things just off the back of the

0:43

bath denominations this week really really chuffed

0:45

that Sarshawt got a nomination for leading

0:47

actress for the out run and if

0:49

you are a regular listener to this

0:51

show you'll know how much we love

0:53

that film and how much that performance

0:55

that performance which is just really

0:57

connected with me and so I'm

0:59

so glad to see that she got

1:01

nominated for that. And we're really proud

1:03

about the number of people that

1:05

we've had on the podcast that

1:07

have been nominated, which is just

1:09

kind of great to see. And

1:12

so if you check out our

1:14

socials, we're going to be kind

1:16

of highlighting just some of the

1:18

conversations that we've had on the show

1:20

with those that are in the running

1:22

for, be it Oscars BAFTAs. Golden Globes,

1:24

they've already happened, so not this year's,

1:26

SAG awards, all those kind of things

1:29

as well. And also one who sent

1:31

our best wishes to everybody out in

1:33

LA who's been affected by the fires.

1:36

There are so many creatives who are

1:38

affected and have lost their livelihood. I

1:40

was chatting to someone just this week

1:42

about a composer for any of theirs

1:45

who's always instruments have gone, so

1:47

we send our love and best

1:49

wishes to everybody out there who's

1:51

been affected by the fires. One

1:53

of the people that I was

1:55

really surprised wasn't nominated in Bathtors

1:57

was James Mangold. I always find interest

1:59

in when... film picks up an array of

2:01

nominations from the performances to lots

2:03

of the craftspeople, even the film

2:06

gets a nomination, but for some

2:08

reason the director doesn't get the

2:10

recognition, considering he's the kind of

2:12

captain of the ship. It happened with

2:15

Scorsese a few years ago as well. It's

2:17

so bonkers, it slightly blows my mind.

2:19

But anyway, you can dive into

2:21

our wonderful conversation with James Mango

2:24

talking about a complete unknown from

2:26

last week and the film is

2:28

out in cinemas now. Our latest

2:31

guest on soundtrack in are Brady

2:33

Corbett and Guy Pierce, respectively director

2:35

and star, talking about awards of

2:38

the multi-award winning film The Brutalist.

2:40

In it, Adrian Brody plays a

2:42

Hungarian-born Jewish architect who survives a

2:45

Holocaust and emigrates to the US,

2:47

where he struggles to achieve the

2:49

American dream until... A wealthy client

2:52

changes his life. The

2:54

cast also features knockout

2:57

performances from Felicity Jones,

3:00

Stacey Martin, Rafi Cassidy,

3:02

Emma Laird, Alessandro Navola,

3:05

Joe Allwin. And it is

3:08

such a beautiful and

3:10

wonderful commitment to... the love and

3:12

the craft of filmmaking. Brady's done an amazing

3:14

job, you'll hear him talk about that as

3:16

well in terms of the choices that he

3:19

made, what he shot on, how he shot,

3:21

limitations of budget and all that kind of

3:23

thing. It's so fascinating to hear. And it

3:25

equally is a commitment from an audience to

3:27

go and sit through a three and a

3:29

half hour film, but I promise you, you will

3:31

feel richer for the experience. Even the

3:34

commitment that's made to the intermission in

3:36

the middle, which is... 15 minutes, but

3:38

there is something on screen which

3:40

will give you the opportunity

3:43

to take a break in however

3:45

that is, even if it's just

3:47

taken a breath. The brutal is

3:49

scored by Daniel Bloomberg, a phenomenal

3:51

score and we'll begin with his

3:53

cue up the hill. So,

4:52

Hi, it is, how are you? Nice

4:55

to see you. How are you right?

4:57

Yeah, thanks very much. Great, how are

4:59

you both? Yeah, awesome. Hold enough to

5:01

speak about how tired. Hanging in there.

5:03

What time's on on my own? What

5:06

country on my own? What country on

5:08

my own? What country on my own?

5:10

How long? Exactly. We just keep seeing

5:12

each other in different countries. Don't even

5:15

say goodbye. We just to turn up

5:17

in another country. That's exactly, that's exactly

5:19

right. I lost you in that. I

5:21

lost you in that. I lost you

5:24

in that back room. I lost you

5:26

in that back room. I lost you

5:28

in that back room. Oh yeah, I

5:30

sort of left and then we are

5:33

in London. Yeah, but it's kind of

5:35

nice actually, it's kind of nice actually.

5:37

It's like not less pomp and circumstance.

5:39

I was excited to talk to you

5:42

today about about the film and then

5:44

on top of that you come out

5:46

with the most amazing collection of bath

5:48

denominations today as well, so huge congratulations.

5:51

Thank you for it, you know, resonating

5:53

again with an audience. Yeah, it's pretty

5:55

nice. Yeah. It's so cool and for

5:57

my cinematographer and my production designer and

6:00

stuff it just totally rocks. Well just

6:02

hearing you talk about the film, that

6:04

kind of, you know, the collaboration and

6:06

teamwork is something that you seem to

6:09

kind of really relish and enjoy as

6:11

part of a filmmaking process. Oh. I

6:13

mean, you better. It's a collaborative medium.

6:15

I mean, you know, it just, you

6:18

have to have, you know, an affection

6:20

for human beings. It's interesting, though, isn't

6:22

it? Because you also have a very

6:24

uncompromising view of the vision you want

6:27

to make, but you bring the people

6:29

to you who you know you can

6:31

and want to collaborate with who are

6:33

only going to elevate the process, not

6:36

try and shut down. things. So it's

6:38

collaborative, but at the same time, it's,

6:40

it's, it's, it's, it's, it's also going

6:42

to be, you've got to be. Well,

6:45

well, yeah, I guess what it is

6:47

is that you need to have these

6:49

pillars of the project that are the

6:51

things that you just can and never

6:54

will compromise on. But then everything in

6:56

between, you have to be very nimble

6:58

and you have to respond to a

7:00

performance. I really struggle with storyboarding because

7:03

I feel like, like, like, like, like,

7:05

like, like, locked into this imaginary concept.

7:07

I would agree. I could imagine story

7:09

warnings just like, why does it even

7:12

exist? Well, you're also, you become a

7:14

slave to it. Yeah. You're like, oh,

7:16

that doesn't look like the cartoon. No.

7:18

Who's in security decided on story. Somebody's

7:21

a really good drawer who can do

7:23

really good art. He's just trying to

7:25

show off. I mean, I mean, like,

7:27

I know, Denise Villenev and his team

7:30

are like, some of the only folks

7:32

I know that use story boards extremely

7:34

well, because in general, I think that

7:36

if you're in a studio and you

7:39

actually are controlling the light and you

7:41

are, like, it's not, then, then you

7:43

need to respond to it less, I

7:45

suppose, because you are creating it. But

7:48

in general, it's just like, what if

7:50

somebody does. something that's more interesting. Yeah,

7:52

we heard it. There you go, but

7:54

on my drawing it says you walk

7:56

over there. Exactly. And the natural light

7:59

might be different. You know, the nature

8:01

might have messed with something or reacted

8:03

to something. But you know, it's filmmaking,

8:05

it's... It's like free jazz, you know,

8:08

it's like an organized chaos, it really

8:10

is. And so there are sort of

8:12

boundaries and there are sort of, there

8:14

are rules that you have to adhere

8:17

to, but then you also, you know,

8:19

you need to give everyone a chance

8:21

to do their solo. I mean, it's

8:23

like, otherwise I think that it just

8:26

sort of turns into... Nothing, because the

8:28

way I imagine a film is so

8:30

much smaller than what the films end

8:32

up being. And that's because of the,

8:35

I mean, even the environments, literally in

8:37

my mind's eye, are smaller, then when

8:39

I get, I'm like, oh, we have

8:41

so much space, we have some vastness,

8:44

and that's something that just comes with

8:46

the reality. It's not, reality is sometimes

8:48

disappointing, but rarely, usually it's better than

8:50

what you thought it might be. Going

8:53

back to what you said about the

8:55

pillars that you have, you know, in

8:57

terms of and then the kind of

8:59

freedom within those, what for you the

9:02

brutalists, I mean, it's the most extraordinary

9:04

experience to watch it and what you

9:06

get from it as a film fan,

9:08

it's the most classic piece of cinema

9:11

I've seen in so long, like nothing

9:13

I've ever seen for a very long

9:15

time. But for you, what were the

9:17

pillars, Brady, in terms of the things

9:20

that you, you know, that were so

9:22

important to you, with, with regards to

9:24

this film? It's important, you know, you

9:26

know, it's always important, you know, you

9:29

know, you know, you know, you know,

9:31

you know, you know, you know, you

9:33

know, for me, for me, for me,

9:35

for me, for me, for me, for

9:38

me, for me, for me, for me,

9:40

for me, for me, personally, for me,

9:42

for me, personally, for me, for me,

9:44

for me, for me, for me to

9:47

shoot films on celluloid and you know

9:49

I'm not at all dogmatic and there

9:51

are many filmmakers I know that you

9:53

know that won't touch the stuff like

9:56

they they only want to work you

9:58

know with a digital workflow and they've

10:00

got good reasons for that but for

10:02

me it's it's my best tool for

10:05

accessing the period especially and because I'm

10:07

mostly making historical movies I find that

10:09

It just immediately takes me there as

10:11

a viewer in a way that, you

10:14

know, unfortunately, historical movies that are sought

10:16

digitally, something that you can't quite put

10:18

your thing... on frequently feels a little

10:20

a little strange to me. Now of

10:23

course there are the great exceptions and

10:25

I mean like what Jonathan Glazer did

10:27

with his own of interest and the

10:29

way that John thinks like that is

10:32

a movie that could only exist on

10:34

that format and under the skin too

10:36

but you know I think that I

10:38

feel like everyone's always asking me, you

10:41

know, to justify why I want to

10:43

shoot the movie on film, when I

10:45

feel like it should be the other

10:47

way around. It's like, well, why do

10:49

you want me to shoot it on

10:52

a digital format? I don't really... I

10:54

did it in a real way, right?

10:56

Because it's called a film. Because it's

10:58

called a film. No, exactly, exactly. And

11:01

also, if we can afford to do

11:03

it, I mean, my first film, my

11:05

wife's last film, I mean, both of

11:07

her last films, we're all shot on

11:10

celluloid and, you know, my first movie

11:12

was, I think, under three million dollars.

11:14

And so, if we can do it,

11:16

anyone can do it. And, and, and,

11:19

but it is something you have to

11:21

prioritize, you have to prioritize. And there

11:23

is an expense, and so you have

11:25

to decide what you're going to sacrifice

11:28

to be able to pay for it.

11:30

But in my case, I usually just

11:32

cut one day of shooting, and then

11:34

it pays for itself. Guide, the performance,

11:37

and this is extraordinary, and the kind

11:39

of, the almost. the secrecy that's held

11:41

within your performance that slowly but gently

11:43

and you know kind of has little

11:46

cracks here and there until we're kind

11:48

of exposed to the the the character

11:50

sort of fully both extremes almost in

11:52

a way. You talked the other night

11:55

when we had the luxury of having

11:57

a chat about kind of how much

11:59

was in the script and how rich

12:01

the script was was for you but

12:04

you know that's going back to what

12:06

Brady was saying about there being pillars

12:08

but you still... need the freedom as

12:10

an actor to interpret and to bring

12:13

your version of that to the table.

12:15

Sometimes yes you do and I the

12:17

most exciting for me to work and

12:19

I think the best way for me

12:22

to work and the most truthful way

12:24

for me to work is to purely

12:26

respond to something I read that feels

12:28

fully formed. I think that yes there

12:31

are times when you have to interpret

12:33

and you have to bring extra stuff

12:35

and you have to build and you

12:37

have to create and find elements but

12:40

usually because that's not there in the

12:42

script. When it's there in the script,

12:44

I'm off and running. I mean, we

12:46

had lovely chats along the way and

12:49

we talked about the voice that I

12:51

might use. And so there was no

12:53

doubt some things that I did and

12:55

there was an interpretation of what these

12:58

guys wrote. But it really felt like

13:00

I genuinely saw this person. based on

13:02

what I read. My imagination was fully

13:04

sort of in sync. And I'm sure

13:07

it's probably different than perhaps what you

13:09

might have imagined as the character. I

13:11

don't really know. But I felt like

13:13

I saw a fully formed person and

13:16

just went, oh, I can, this is

13:18

great. Because of all those complexities of

13:20

the character that were in there. Yeah.

13:22

You know, these guys wrote a script

13:25

about the complexities of people. Yeah. there's

13:27

a number of themes in the story

13:29

and there's a love story and there's

13:31

all sorts of elements in this film

13:34

which are wonderful but they're interested in

13:36

the the three-dimensional nature of human beings

13:38

and they exist in the script and

13:40

often that's not there and I'm having

13:43

to go hmm well I better sort

13:45

of not about find backstory but I

13:47

better find that third dimension what's the

13:49

character scared of what are they where

13:51

are their fears all that was in

13:54

here yeah so I was a joy

13:56

it was such a music critic in

13:58

the script Well, there's descriptions of music,

14:00

so the solo piano, there's a lot

14:03

of notes about, there's a handful of

14:05

source cues like buttons and bows and

14:07

stuff that was scripted, but Daniel and

14:09

I, you know... we started talking about

14:12

it very early on in the process.

14:14

It was maybe about 18 months or

14:16

something after I'd written it, and it

14:18

took many years then to get off

14:21

the ground. And, you know, we had

14:23

an approach and a methodology that we

14:25

stuck pretty closely to. I mean, what's

14:27

interesting for me is that... You know,

14:30

actually for me, the performances in the

14:32

film and the film's aesthetic in the

14:34

film's design is very, very close to

14:36

what I imagined. It's not always like

14:39

that. Sometimes there's surprises, there's good ones,

14:41

there's bad ones, there's surprises. But this

14:43

film did go more or less according

14:45

to plan, except for how long it

14:48

took to get off the ground, which

14:50

is of course not... part of the

14:52

plan. But you know I think that

14:54

the score, I think it's an extraordinary

14:57

score and I just yeah I think

14:59

there's nothing quite like it and it's

15:01

110 minutes of music because the film

15:03

is so long and it was it

15:06

was made with a really measly budget

15:08

and you know it's all and it's

15:10

all live musicians you know it's not

15:12

done with spitfire or anything. So you

15:15

know. For all of my collaborators, they

15:17

had to figure out with their very

15:19

modest means, just like I had to

15:21

figure out with my very modest means,

15:24

how to deliver on the promise of

15:26

the ambition of the film, you know,

15:28

when they had the same amount of

15:30

money you'd have to write like a

15:33

jingle for an advert. And I really

15:35

mean that. Wow. The

16:24

score is so many things and

16:26

I sort of I gave myself

16:28

the luxury of just having the

16:31

score in my ears all day

16:33

to day as I was walking

16:35

about and it's it's so transportative

16:37

it's so many things and you

16:39

know you can't have that first

16:41

half with those those three notes

16:44

that of re- represent themselves or

16:46

start off so many of those

16:48

cues and take you off. it's

16:50

almost like the jumping off point

16:52

and lots of different kind of

16:55

melodies then it's it's so clever

16:57

because it makes you feel really

16:59

safe when you're listening to it

17:01

but kind of like where are

17:03

we going almost in a way

17:06

as well what were the conversations

17:08

you know that you had with

17:10

Daniel about the kind of subtleties

17:12

and the delicacies that are in

17:14

there but on also the kind

17:17

of the big you know you

17:19

have those big horns that come

17:21

in at times. Well I think

17:23

like the film itself there's this

17:25

sort of tension between classicism and

17:28

modernity. And I think that there

17:30

are aspects of the film that

17:32

owe a debt to films of

17:34

a bygone era and film scores

17:36

of a bygone era. But then

17:39

there are also these very radical,

17:41

very contemporary. you know, ways in

17:43

which the score was built. I

17:45

mean, it was, it's predominantly, all

17:47

the percussion, for example, is prepared

17:50

piano, you know, where we literally

17:52

take nickels and dimes and screws

17:54

and use the piano strings as

17:56

a percussive instrument. And so there's

17:58

a lot of very radical, very

18:01

modern ways in which it was

18:03

sort of built. And what's so

18:05

cool, for example, about the, sorry,

18:07

I don't care to talk about

18:09

this very often. It's great. Just

18:11

haven't. And what's something for me

18:14

is about this. Please keep going.

18:16

The score is one of the

18:18

best things. So, well, there's this

18:20

kind of extraordinary thing that Daniel

18:22

and I discussed early on about

18:25

prepared piano, which is that, you

18:27

know, if it recorded properly. The

18:29

inside of that sonic space is

18:31

immense, but with such modest means,

18:33

you get this sound that's even

18:36

bigger than a timpani. So it's

18:38

just this really versatile instrument, and

18:40

we hired some of the greatest,

18:42

you know, pianist on the planet

18:44

to contribute, including John Tilbury, who,

18:47

you know, if you've ever listened

18:49

to Morton Feldman recordings or anything,

18:51

it's usually John that was playing

18:53

him. and he's in his late

18:55

80s and you know his contribution

18:58

is just it was so exciting

19:00

to be able to work with

19:02

him and Evan Parker on saxophone

19:04

like it's it's it's all done

19:06

in England the only thing that

19:09

was done in the US was

19:11

Vince Clark of DuPage mode and

19:13

Erasure collaborated with Daniel on the

19:15

synth version of the score that's

19:17

in the 1980s part in Venice.

19:20

So yeah, I mean, honestly, the

19:22

soundtrack was sort of its own

19:24

production. Yeah. And, you know, fortunately,

19:26

folks notice. And I'm particularly excited

19:28

for, you know, Daniel's nomination today

19:30

because... he you know he's 31

19:33

years old or something so it's

19:35

kind of amazing and he just

19:37

looks like he should be with

19:39

a couple of you know mixing

19:41

decks in a nightclub in London

19:44

somewhere doesn't he just so assuming

19:46

it's created this incredibly classic score

19:48

that is so moving and I'm

19:50

with you I have a copy

19:52

of it on my computer so

19:55

I'm listening to it all the

19:57

time as well I played library

19:59

on the radio the other day

20:01

music music Music

20:05

music Music

20:11

Music You

20:42

You it's

21:24

beautiful right? I mean it's just

21:27

a beautiful it's it's really And

21:29

the other thing about this last

21:31

thing I'll say about the piano.

21:33

no No the thing that that

21:35

something that I learned about about

21:37

you know I've never had piano

21:39

and a score score before Scott

21:42

Walker we were always using a

21:44

lot of double bases and and

21:46

know a more traditional percussion but

21:48

piano because of the reverb it's

21:50

very very difficult to edit so

21:52

what that meant for Daniel was

21:54

that for approximately I don't know

21:57

maybe 16 minutes or something of

21:59

solo piano He had

22:01

to record it for two

22:03

weeks to actually get what

22:05

ended up in the film

22:07

because it was impossible to

22:10

slice into it. It would

22:12

have been jarring if you

22:14

sliced into that reverb. There

22:16

was no way to really

22:18

do it delicately. And so

22:20

it had to be played

22:23

mostly live. And so there

22:25

are other aspects of the

22:27

score, you know, which were

22:29

built. There's so many live performances

22:32

in the film that are preserved.

22:34

I like Axel Dorner and his

22:36

wife doing this incredible horn duo

22:38

together during the sex scene in

22:40

the film and it's really cool

22:42

because these two musicians are married

22:45

and their lovers in real life

22:47

and it was like... like play

22:49

the film, play the theme as

22:51

two lovers and they did it.

22:53

And it was like, it was

22:55

like this crazy Cobra dance, you

22:57

know, where you're just like, it's

23:00

just, and that is really like,

23:02

that's what they played. It went

23:04

straight into the movie and that

23:06

was that. But

24:34

that's also testament to you, you

24:36

know, going back to what you

24:38

were saying about the script, that's

24:40

testament to what people are reading

24:42

or the scene, if you're giving

24:44

them a scene as to what

24:47

it's, what they're scoring to or

24:49

the conversations that you're having, you're

24:51

having, almost going back to those

24:53

kind of like, you know, kind

24:55

of benchmarks of what you want

24:57

it to be, and they're reacting

25:00

with the script. being beautifully written,

25:02

it was really inspiring. It really,

25:04

I think, made everybody go, oh,

25:06

not only do I want to

25:08

be involved, but I really want

25:10

to do my best work here.

25:12

So that was a real charged

25:15

feeling that I got from it.

25:17

When you're talking about the piano

25:19

bit as well, it's almost kind

25:21

of, I'm a big believer in

25:23

fate and I think that almost

25:25

kind of like when you know

25:28

it's right, you know kind of

25:30

thing. And so almost kind of

25:32

like the length of the reverb,

25:34

in the way that you've placed

25:36

it in the film. It's like

25:38

it was meant to be that

25:40

way because it fits. It's the

25:43

well, it's the right time. It's

25:45

the right. I year I yearn

25:47

for a more analog cinema and

25:49

you know, it's even there's notations

25:51

and stuff in the screenplay about

25:53

how the the pianist at his

25:56

at his bench you know you

25:58

hear him turning the pages of

26:00

his sheet music and all there's

26:02

all this stuff that generally there's

26:04

all this life that people generally,

26:06

you know, that they scrub out.

26:08

And I understand why, of course,

26:11

and it's not appropriate for absolutely

26:13

everything, but it was so important

26:15

to me that the music was

26:17

a character. Because otherwise, if it's

26:19

just someone to sleep at the

26:21

sense or whatever, I'd rather just

26:24

leave a performance alone. Like I

26:26

just don't think, I think a

26:28

great performance rarely needs to be

26:30

aided by score. So this had

26:32

to. do something that expressed the

26:34

interior life of these characters that,

26:37

you know, both Guy's character and

26:39

Adrian. It's a different situation, but

26:41

with Guy's role and Adrian's role,

26:43

these are two characters that don't

26:45

say what they mean. And so

26:47

there's something very interesting, you know.

26:49

Oslo's inability to express himself verbally

26:51

and the way that it comes

26:53

out like a leak through his

26:56

work and everything that Guy's character

26:58

is hiding and is keeping so

27:00

close to the vest, you know.

27:02

For me, Guy's character is a

27:04

wolf in wolf's clothing. He seems

27:06

somehow like, you know, well, like

27:08

he comes out the gate so

27:10

brutal, so awful that he couldn't

27:12

possibly be that awful. Yeah, I

27:14

mean it's it's a it's an

27:17

anti the film is a 1950s

27:19

melodrama and you know, it's not

27:21

I love Neo Realist films I

27:23

love Mike Lee I love Ken

27:25

Loach There's so many you know,

27:27

those are movies I love, but

27:29

those are not the movies that

27:31

I make and this is a

27:33

1950s melodrama and it required the

27:35

performers, you know to take a

27:37

real leap of faith because the

27:40

There's a certain sort of largeness

27:42

about the style of performance in

27:44

the 1950s, and I was so

27:46

lucky to have, you know, partners

27:48

that understood what that... And exactly

27:50

how to walk up to the

27:52

line and not cross it. And

27:54

that's like, you know, it's a

27:56

real, I don't know, I think

27:58

that the performances in the film,

28:01

I'm just, I'm very proud of

28:03

everyone, you know, Joe and Alessandro

28:05

and ESAC, and I mean, everyone

28:07

is just doing such great work.

28:09

Absolutely. Yeah, did you want to

28:11

write to music at all? Do

28:13

you ever have music when you're

28:15

writing? You know, in terms of

28:17

music all the time? I like

28:19

extreme, I like extremes, you know,

28:21

like, I like, you know, I

28:24

want to hear someone play their

28:26

guitar until their fingers bleed, you

28:28

know, or, you know, play the

28:30

sax, until their lungs explode, or,

28:32

you know, or quite the opposite,

28:34

you know, it's like, I have

28:36

an album, it's just silence. It's

28:38

just, like an indie wall out

28:40

of it, and it's kind of

28:42

amazing. It's so great. I mean,

28:45

the thing is, technically, there are

28:47

variations of silence on the album,

28:49

but it is silence. But as

28:51

a filmmaker, you're constantly listening to

28:53

room tone, and so you do

28:55

spend a lot of time just

28:57

listening to what's the right kind

28:59

of silence for this scene. Yeah.

29:01

And of course, it evokes a

29:03

real feeling, and it matters. It's,

29:06

you know, it's what actually you

29:08

can nestle a vocal performance inside

29:10

of it. And if you choose...

29:12

the wrong kind of silence, it

29:14

doesn't complement the performance weirdly. Guy,

29:16

do you use music at all

29:18

in terms of prep around characters

29:20

or, you know... I mean, I

29:22

love music and I live for

29:24

music and it's a really important

29:26

part of my life and I

29:29

love spending time in my studio

29:31

and creating music, etc. I find,

29:33

I think when it comes to

29:35

character and that I need to

29:37

put the music away. I don't

29:39

necessarily need to turn to music

29:41

to help me find a character

29:43

necessarily. I will. strangely, I mean

29:45

I go through periods of listening

29:47

to different things at different times

29:50

and I do sometimes end up

29:52

with a collection of things that

29:54

I listen to during a shoot,

29:56

not necessarily because I needed to

29:58

but... just the timing of it

30:00

means that that's the, they're the

30:02

three CDs I have in the

30:04

car, so I've got them on

30:06

rotation as I'm driving home from

30:08

set or whatever. So there's an

30:11

association that I'll then make. And

30:13

I think what happens is there

30:15

is sort of like, almost like

30:17

ticks that you kind of rely

30:19

on a little bit. You know,

30:21

I mean, I got back into

30:23

listening to Jeff Buckley's Grace album,

30:25

funnily enough when we were shooting

30:27

this. And I would listen to

30:29

that on those drives from where

30:31

we were, where we were, where

30:34

we were, and where we were

30:36

shooting. And so that sort of

30:38

became a, it wasn't like I

30:40

needed it to get into character,

30:42

but it just, yeah, I don't

30:44

know, just. I can see it's

30:46

a longing he has. Yeah, yeah,

30:48

I mean, this is an incredible

30:50

old man anyway. Yeah, totally. So,

30:52

so yeah. It's not often I

30:55

get the chance to speak to,

30:57

um. you know to actors and

30:59

they have really connected or really

31:01

have you know paid attention to

31:03

the score after watching the film

31:05

as a you know on a

31:07

whole I mean you talking about

31:09

the the score the other night

31:11

was was you know amazing and

31:13

you never really get that often

31:15

it's clearly something that you really

31:18

pay attention to after the if

31:20

you know after the event yeah

31:22

I would like to do that

31:24

as a job I would honestly

31:26

genuinely would like to make film

31:28

music Absolutely. I've always wanted to.

31:30

So it's at that place in

31:32

my life where when I watch

31:34

a film, a big part of

31:36

it is listening to the music

31:39

and whether it works, whether it

31:41

doesn't, etc. And I love bold

31:43

music in a film. You know,

31:45

I really love bold music in

31:47

a film. You know, I really

31:49

love, you look at the film

31:51

Jackie with that score. Yeah, because

31:53

amazing. Yeah, I remember someone saying

31:55

to me a long time ago,

31:57

well, you just want to not

32:00

notice it. in the face. And

32:02

there's a difference between someone trying

32:04

to manipulate you with them. music

32:06

and somebody actually going look at

32:08

this hand-in-hand with this moment or

32:10

this performance that's very different than

32:12

someone going you meant to feel

32:14

really so yeah yeah so so

32:16

well yeah so well yeah so

32:18

so well yeah so so you

32:20

know so you know listening to

32:23

this score with this film it

32:25

actually makes the film feel bigger

32:27

more epic It's an enormous film

32:29

anyway, but it gives it even

32:31

more gravity. It's another cottage, doesn't

32:33

it? I mean, listen, you know,

32:35

the sound design in the film

32:37

in general, you know, I mean,

32:39

the only, in fact, one of

32:41

the only contributors in this film

32:44

that has gone somewhat overlooked is

32:46

my sound designer. Who is he?

32:48

genius. I mean, the reason that

32:50

that sequence on the ship is

32:52

what it is. Every single breath,

32:54

every single line of dialogue, competing,

32:56

you know, diagetic audio and non-diagetic

32:58

audio. all of that was built

33:00

because you know in reality there

33:02

was so much going on that

33:05

that not I was I was

33:07

playing a demo for all of

33:09

the background performers to be able

33:11

to move to because we hired

33:13

dancers to be in the background

33:15

so that there would be a

33:17

sort of rhythm a sort of

33:19

cadence you know yeah and so

33:21

my my mixer Steve single I

33:23

mean he had to piece by

33:25

piece completely rebuild the first 10

33:28

minutes of the film balancing that

33:30

voiceover and and music and sound

33:32

design all the stuff and I

33:34

just I think he's one of

33:36

the most visionary you know designers

33:38

that I've ever worked with and

33:40

I've worked with a lot of

33:42

the best and and I just

33:44

just wanted to take a second

33:46

to call him out. He is

33:49

really on another level that guy

33:51

Steve Single. We applaud you sir.

33:53

Thank you so much for your

33:55

time. I could genuinely chat you

33:57

both for hours about this film

33:59

and all these brilliant collaborations but...

34:01

Huge congrats. Well, that was the

34:03

loveliest interview of the day. Oh,

34:05

take that. I really appreciate it.

34:07

Thank you. From

35:04

the score to the brutalist that's Bath

35:06

by Daniel Bloomberg rounding off this latest

35:09

episode of soundtracking with Brady Corbett and

35:11

Guy Pierce. My huge thanks to Brady

35:13

and Guy for joining us. The brutalist,

35:16

as I said, is on General East

35:18

in the UK as of this coming

35:20

Friday and is fully deserving of the

35:22

accolades and awards. It is racking up.

35:25

You can find every single episode of

35:27

soundtrack at Edith bowman.com with a 500th

35:29

episode, Kriki. fast approaching. How have we

35:32

managed that? We do have plans to

35:34

celebrate that with some friends of the

35:36

show so watch this space. Follow us

35:38

on socials. We're at Soundtracking UK and

35:41

our YouTube channel is called Soundtracking Extra

35:43

where there is loads of great video

35:45

content up there for you to check

35:47

out. Next up, the wonderful Jason Wrightman

35:50

talking about his film Saturday Night which

35:52

is a celebration of the 31st episode

35:54

and have an act. happened of

35:57

Saturday Live. I'm very I

35:59

very much look forward

36:01

to the pleasure

36:03

of your company. today.

37:00

you