‘The Brutalist’ director Brady Corbet says he made ‘zero’ money from Oscar-nominated movie

The Financial Realities of Filmmaking: Director Brady Corbet’s Story

Award-winning director Brady Corbet, nominated for 10 Oscars for his critically acclaimed film “The Brutalist,” recently revealed the harsh financial realities facing many filmmakers. in a candid conversation on the “WTF with Marc Maron” podcast,Corbet shared that he and his partner earned “zero dollars” from their last two films,relying on past income to make ends meet.

“Both my partner and I made $0 on the last two films that we made. So we had to just sort of live off of a pay check from three years ago,” Corbet disclosed in the Monday, January 23rd release. This admission highlights the precarious financial landscape within the film industry, a sentiment echoed by Corbet when he stated, “I’ve spoken to many others who ‘have films that are nominated this year that can’t pay their rent.'”

“The Brutalist,” a three-and-a-half-hour epic chronicling the journey of Hungarian Holocaust survivor László Tóth in the United States, was produced on a relatively modest budget of $10 million.

Despite its success and critical acclaim, the film’s production took seven years to complete as Corbet relentlessly pursued the necessary funding.Post-premiere, the filmmaker emphasized the financial toll of promotional tours and awards campaigns, often lasting months with no compensation.

“Our film premiered in September, so I’ve been doing this for six months and had zero income because I don’t have any time to work. I can’t even take a writing job at the moment,” Corbet explained, shedding light on the “crazy” amount of international and domestic travel involved in promoting a film.

This dedication to the director’s craft comes at a notable personal cost, as Corbet had to take on freelance work including directing advertisements in Portugal to make ends meet. “I just directed three advertisements in Portugal… it’s the first time that I had made any money really in years,” he shared.

Corbet’s story underscores the critical need for systemic change within the film industry to address the financial strain faced by many talented filmmakers.

How can the film industry better ensure fair compensation and lasting income for filmmakers, especially those working on independent projects?

The Financial Realities of Filmmaking: A Candid Conversation with Award-Winning Director Brady Corbet

Navigating the Industry’s Financial Landscape

In an industry frequently enough shrouded in glitz and glamour, the financial realities of filmmaking are far from glossy.Award-winning director Brady Corbet, best known for his critically acclaimed film “The Brutalist,” recently shed light on these harsh truths in an interview with Marc Maron on the “WTF” podcast. Archyde had the opportunity to sit down with Corbet for an exclusive conversation on the financial challenges facing filmmakers today.

Finding Success,Struggling Financially

Archyde (AD): Brady,your last two films,including the highly acclaimed “The Brutalist,” have been nominated for numerous awards. Yet, you’ve mentioned that you and your partner earned ‘zero dollars’ from these projects.

Brady Corbet (BC): Yes, that’s right. Unfortunately, the financial reality of filmmaking frequently enough doesn’t match its artistic success. Both my partner and I made $0 from our last two films. We’ve had to rely on income from previous projects and freelance work to make ends meet.

The Cost of Independent Filmmaking

AD: “The Brutalist” was produced on a $10 million budget. That might seem substantial, but is it enough for a film of its scope and magnitude?

BC: not at all. The budget was relatively modest for a film of that scale. The production took seven years due to funding constraints. Even with critical acclaim and awards recognition, the financial rewards haven’t been proportionate to the success or the time invested.

The Toll of Promotional Tours and Awards Campaigns

AD: post-premiere,filmmakers often invest importent time and resources into promoting their work.Can you tell us about the financial implications of these tours and campaigns?

BC: it’s a Catch-22 situation. To promote your film, you have to travel, which costs money. But the promotions don’t come with a paycheck. I’ve been working non-stop for months with zero income. It’s not sustainable in the long run. You’re essentially working for free in the hope that the film’s success will translate into future opportunities.

Finding Sustainable Income in the Film Industry

AD: To support yourself, you’ve had to take on freelance work, including directing advertisements. Is this an accepted norm in the industry?

BC: It’s more common than you’d think. Many filmmakers, especially those working on independent projects, have to supplement their income with other work. It’s challenging because it takes away from time dedicated to creatively exploring your craft. But it’s a necessary evil for many of us.

Call for Change

AD: What changes would you like to see in the film industry to alleviate the financial strain on filmmakers?

BC: There needs to be more systemic change. Better distribution models, more transparency in revenue sharing, and fair compensation for the time and dedication filmmakers pour into their work. It’s not just about the art; it’s about the sustainability of our careers.

*Thoughts? We’d love to hear your ideas on how to improve the financial landscape for filmmakers. Share your comments below.*