Adrien Brody Unveils His Creative Journey in the Captivating Film ‘The Brutalist’

SCOTT SIMON, HOST:

Film awards season is intensifying, and among the frontrunners is a film that spans 3 1/2 hours and includes an intermission. “The Brutalist” tells the story of Laszlo Toth, a Hungarian Jewish architect and Holocaust survivor, played by Adrien Brody. He escapes to America, laboriously establishing a livelihood through construction work before encountering a tycoon portrayed by Guy Pearce who presents him with a commission.

(SOUNDBITE OF FILM, “THE BRUTALIST”)

ADRIEN BRODY: (As Laszlo) Sir, I am uncertain of what the commission involves.

GUY PEARCE: (As Harrison) We’ll discuss the particulars at home, but you will be generously compensated. Additionally, a space will be provided for you here on the property to live and work. I believe that residing here will afford you the time and space to conceive it appropriately. How does that sound?

BRODY: (As Laszlo) I would like to create a drawing and then present it to you.

PEARCE: (As Harrison) You wish to secure the commission (laughter).

SIMON: And Adrien Brody, who won an Oscar for “The Pianist,” joins us from New York. Thank you for being here.

BRODY: Thank you, Scott. I appreciate your invitation.

SIMON: Your mother, photographer Sylvia Plachy, was also a Hungarian immigrant to the United States. Does that evoke a particular sentiment regarding the film’s themes for you?

BRODY: Absolutely. It is a significant privilege for me to help narrate the immigrant experience, which resonates deeply with my own history. My mother, this remarkable photographer, emigrated to the United States in the ’50s, similarly to my character. She and her parents fled Budapest during the Hungarian Revolution, moved to New York, and began anew. That narrative of perseverance, hope, and sacrifice profoundly impacts me. I am grounded here because of their efforts and all they have triumphed over.

SIMON: Perhaps we should clarify that the brutalism referenced in the title may pertain to multiple elements. There was a school of architecture that emerged post-World War II, characterized by structural components and unadorned brick and glass rather than decorative features. What do you think Laszlo discovers within this architectural style?

BRODY: Brutalism is an extraordinary architectural style, significantly developed by immigrants. I believe there is an intrinsic quality present in the structures themselves. It evolved in the aftermath of World War II, during a period of extensive reconstruction, looking towards the future. These buildings sought visibility, yet many of their creators were often grappling with their own survival rights.

SIMON: I must confess, at various moments throughout the film, I found myself questioning how I had overlooked the existence of this individual, Laszlo Toth.

BRODY: (Laughter).

SIMON: I gather you’ve encountered similar remarks.

BRODY: Well, I can explain why you haven’t heard of him (laughter). He is a fictional individual. Unfortunately, the rationale behind Brady Corbet, our director, and his wife and writing partner Mona Fastvold crafting a narrative about a fictional architect from that period who survived the Nazi regime and immigrated to America to restart his life and continue his craft is that many creatives were tragically lost. Their works remain unfulfilled.

SIMON: Indeed, a tycoon discovers him – Harrison Lee Van Buren – compensates him handsomely, providing him the opportunity to realize his vision. But there is an additional toll, correct?

BRODY: Yes. A significant theme of the film, beyond the immigrant struggles and the intricacies of the American dream, is the interplay between the artist and their patron. It is a complicated relationship. The artist requires funding to pursue their work, leading to a delicate (laughter) dynamic. Often, that control results in a conflict, requiring many artistic visions to be adapted.

SIMON: Sometimes, it seems it has to be concrete rather than marble.

BRODY: Well, it depends on whom you’re speaking to (laughter). At times, it must be only marble and a specific kind of marble at that.

SIMON: There’s a particularly moving scene – you and Felicity Jones engaged in an argument. Let me allow Laszlo Toth to articulate that.

(SOUNDBITE OF FILM, “THE BRUTALIST”)

BRODY: (As Laszlo) Look, they do not desire our presence here.

FELICITY JONES: (As Erzsebet) Naturally, they do not wish for us here.

BRODY: (As Laszlo) Not Attila.

JONES: (As Erzsebet) Then who do you refer to?

BRODY: (As Laszlo) The community here. They do not want us in this space. Audrey, Attila’s Catholic spouse, does not want us here. She desires our absence.

BRODY: It is abundantly clear that despite their attempts to assimilate and contribute, they continue to be regarded as outsiders. It is incredibly painful to arrive and start anew while consistently feeling marginalized and inadequate.

SIMON: Is this a message you believe we could benefit from hearing today?

BRODY: It certainly resonates with me. I mean, this film was written seven years ago; it reflects a historical era from which we can hopefully gain insights. The beauty of cinema lies in its ability to transport us into experiences we are fortunate to avoid personally. There’s something unifying about all of us gathering in that dim theater, engaging in what we hope will be a moment of reflection, reminding us to remain vigilant against intolerance and oppression.

SIMON: Adrien Brody stars in “The Brutalist,” currently showing in theaters. Thank you for joining us today.

BRODY: Oh, thank you very much. I valued this conversation.

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