One night last month, near the end of the Chicago International Film Festival, a particularly long line of moviegoers snaked down Southport Avenue by the Music Box Theatre. The hot ticket? This fall’s hottest ticket, in fact, all over the international festival circuit? Well, it’s a 215-minute drama about a fictional Hungarian Jewish architect who emigrates to America in 1947 after surviving the Holocaust. The film’s title, “The Brutalist,” references several things, firstly a post-World War II design imperative made of stern concrete, steel, and a collision of poetry and functionality. Director and co-writer Brady Corbet, who wrote “The Brutalist” with his filmmaker wife, Mona Fastvold, explores brutalism in other forms as well, including love, envy, capitalist economics and how the promise of America eludes someone like the visionary architect László Tóth, played by Adrien Brody. Corbet, now 36 and a good bet for Oscar nominations this coming January, says his unfashionable sprawl of a picture, being distributed by A24, is also about the “strange relationship between artist and patron, and art and commerce.” It co-stars Felicity Jones as the visionary architect’s wife, Erzsébet, trapped in Eastern Europe after the war with their niece for an agonizingly long time. Guy Pearce portrays the imperious Philadelphia blueblood who hires Tóth, a near-invisible figure in his adopted country, to design a monumental public building known as the Institute in rural Pennsylvania. The project becomes an obsession, then a breaking point and then something else. Corbet’s project, which took the better part of a decade to come together after falling apart more than once, felt like that, too. Spanning five decades and filmed in Hungary and Italy, “The Brutalist” looks like a well-spent $50 million project. In actuality, it was made for a mere $10 million, with Corbet and cinematographer Lol Crawley shooting on film, largely in the VistaVision process. The filmmaker said at the Chicago festival screening: “Who woulda thunk that for screening after screening over the last couple of months, people stood in line around the block to get into a three-and-a-half-hour movie about a mid-century designer?” He lives in Brooklyn, New York, with Fastvold and their daughter. Our conversation has been edited for clarity and length. Q: Putting together an independent movie, keeping it on track, getting it made: not easy, as you told the Music Box audience last night. Money is inevitably going to be part of the story of “The Brutalist,” since you had only so much to make a far-flung historical epic. A: Yeah, that’s right. In relation to my earlier features, “The Childhood of a Leader” had a $3 million budget. The budget for “Vox Lux” was right around $10 million, same as “The Brutalist,” although the actual production budget for “Vox Lux” was about $4.5 million. Which is to say: All the money on top of that was going to all the wrong places. For a lot of reasons, when my wife and I finished the screenplay for “The Brutalist,” we ruled out scouting locations in Philadelphia or anywhere in the northeastern United States. We needed to (film) somewhere with a lot less red tape. My wife’s previous film, “The World to Come,” she made in Romania; we shot “Childhood of a Leader” in Hungary. For “The Brutalist” we initially landed on Poland, but this was early on in COVID and Poland shut its borders the week our crew was arriving for pre-production. When we finally got things up and running again with a different iteration of the cast (the original ensemble was to star Joel Edgerton, Marion Cotillard and Mark Rylance), after nine months, the movie fell apart again because Russia’s invasion of Ukraine. We couldn’t get any of the banks to cash-flow the tax credit (for location shooting in Poland). It’s completely stable now, but at that time the banks were nervous about whether the war would be contained to Ukraine or not. And then we finally got it up and running in Budapest, Hungary. Q: That’s a long time. A: Every filmmaker I know suffers from some form of post-traumatic stress (laughs). It sounds funny but it’s true. At every level. On the level of independent cinema, you’re just so damn poor. You’re not making any money, and yet from nose to tail, at minimum, a movie always takes a couple of years. With bigger projects, you might have a little more personal security but a lot less creative security with so many more cooks in the kitchen. Either route you choose, it can be an arduous and painful one. Whether you’re making a movie for a million dollars, or $10 million, or $100 million, it’s still “millions of dollars.” And if you’re concerned about the lives and livelihoods of the people working with you, it’s especially stressful. People are constantly calling you: “Is it happening? Are we starting? Should I take this other job or not?” And you have 250 people who need that answer from you. Every iteration of the project, I always thought we were really about to start in a week, two weeks. It’s just very challenging interpersonally. It’s an imposition for everyone in your life. And then there’s the imposition of screening a movie that’s three-and-a-half-hours long for film festivals, where it’s difficult to find that kind of real estate on the schedule. So essentially, making a movie means constantly apologizing. Q: At what point in your acting career did you take a strong interest in what was going on behind the camera? A: I was making short films when I was 11, 12 years old. The first thing I ever made more properly, I guess, was a short film I made when I was 18, “Protect You + Me,” shot by (cinematographer) Darius Khondji. It was supposed to be part of a triptych of films, and I went to Paris for the two films that followed it. And then all the financing fell through. But that first one screened at the London film festival, and won a prize at Sundance, and I was making music videos and other stuff by then. Q: You’ve written a lot of screenplays with your wife. How many? A: Probably 25. We work a lot for other people, too. I think we’ve done six together for our own projects. Sometimes I’ll start something at night and my wife will finish in the morning. Sometimes we work very closely together, talking and typing together. It’s always different. Right now I’m writing a lot on the road, and my wife is editing her film, which is a musical we wrote, “Ann Lee,” about the founder of the Shakers. I’m working on my next movie now, which spans a lot of time, like “The Brutalist,” with a lot of locations. And I need to make sure we can do it for not a lot of money, because it’s just not possible to have a lot of money and total autonomy. For me making a movie is like cooking. If everyone starts coming in and throwing a dash of this or that in the pot, it won’t work out. A continuity of vision is what I look for when I read a novel. Same with watching a film. A lot of stuff out there today, appropriately referred to as “content,” has more in common with a pair of Nikes than it does with narrative cinema. Q: Yeah, I can’t imagine a lot of Hollywood executives who’d sign off on “The Brutalist.” A: Well, even with our terrific producing team, I mean, everyone was up for a three-hour movie but we were sort of pushing it with three-and-a-half (laughs). I figured, worst-case scenario, it opens on a streamer. Not what I had in mind, but people watch stuff that’s eight, 12 hours long all the time. They get a cold, they watch four seasons of “Succession.” (A24 is releasing the film in theaters, gradually.) It was important for all of us to try to capture an entire century’s worth of thinking about design with “The Brutalist.” For me, making something means expressing a feeling I have about our history. I’ve described my films as poetic films about politics, that go to places politics alone cannot reach. It’s one thing to say something like “history repeats itself.” It’s another thing to make people see that, and feel it. I really want viewers to engage with the past, and the trauma of that history can be uncomfortable, or dusty, or dry. But if you can make it something vital, and tangible, the way great professors can do for their students, that’s my definition of success. “The Brutalist” opens in New York and Los Angeles on Dec. 20. The Chicago release is Jan. 10, 2025. Michael Phillips is a Tribune critic.New Orleans Saints quarterback Derek Carr sustained a left hand injury and possible concussion in the fourth quarter of Sunday's 14-11 victory over the New York Giants. The Saints feared Carr fractured the hand, per reports, and he was slated to undergo further testing. He reportedly had a cast on the hand when exiting the stadium. Saints interim coach Darren Rizzi said Carr may have to enter the concussion protocol. Carr was injured when he tried to leap for a first down late in the final quarter. He was near the sideline and went airborne, landing hard on the left hand with this face then slamming into the turf as he landed out of bounds with 3:59 left in the game. Jake Haener finished up the game for the Saints. Carr completed 20 of 31 passes for 219 yards, one touchdown and one interception for New Orleans. Overall, Carr has passed for 2,145 yards, 15 touchdowns and five interceptions this season. He missed three games earlier this season due to an oblique injury. --Field Level Media
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Accelerating climate action through AIThree Greenspoon Marder Lawyers Bolster Southeast Presence MIAMI , Dec. 12, 2024 /PRNewswire/ -- Ice Miller is pleased to announce the addition of esteemed international transactional lawyers Jon Lyman and Gai Sher to help launch the firm's new Miami office . Bringing 30 years of experience counseling corporate and financial institution clients on all manner of deals, often involving cross-border transactions, Miami -based Lyman reinforces Ice Miller's strong transactional roster on both a regional and international scale, while Sher concentrates her practice on representing and providing legal counsel to startups, emerging growth companies, brands, creators, and executives in media, technology, and consumer products in all aspects of commercial transactions. Miami now joins Ice Miller's Naples office as a key component of the firm's strategy to expand its presence in South Florida and better serve clients across the Southeast region. The office will be supported by a local team that includes associate Ariela Benchlouch , as well as other Ice Miller lawyers splitting time among different offices. Reinforced by Ice Miller's national platform, Lyman is positioned to provide comprehensive guidance on mergers, acquisitions, divestitures, finance, debt, and equity offerings. Throughout his extensive career, he has regularly been called upon by directors and officers to provide legal counsel in connection with investment transactions, including for private equity, venture capital, and family office clients, as well as international debt and equity securities issues and trading compliance. Sher also counsels on all aspects of commercial transactions, while boasting experience in deal-making and structuring rights, talent, licensing, and production agreements across all facets of intellectual property, media, and entertainment. "The Miami team brings an exciting new dimension of capabilities to our clients," said Ice Miller Chief Managing Partner Michael Millikan . "They not only offer fresh and innovative legal insight, but also amplify our core strengths in dynamic new ways. Their presence in Miami aligns perfectly with our strategic growth objectives." Ice Miller Board Member and Business Group partner Tom Kesoglou also weighed in: " Miami is a key hub in the transactional landscape—critical to both our existing clients and our growth targets," he said. "Jon and Gai's strong reputations and established presence in the region, coupled with their entrepreneurial drive, position them perfectly to help the firm continue its evolution." In a supporting role, Benchlouch guides clients through complex transactions, including conducting thorough due diligence and risk assessments, drafting and negotiating key transaction documents, and navigating regulatory and compliance issues. "This team is excited to hit the ground running at Ice Miller," said Lyman. "As we've gotten to know the firm better, we've been impressed by its robust transactional platform and deep experience. The possibilities here are clear, and we see a tremendous potential for growth. I'm confident that, together, we'll continue to build on this momentum in the months and years ahead." About Ice Miller LLP Ice Miller LLP is a full-service law firm dedicated to helping our clients stay ahead in a changing world. With more than 350 legal professionals across the nation, we advise clients on all aspects of the complex legal issues impacting businesses each day. We serve private equity and venture capital funds, large private and emerging growth companies, FORTUNE 500 corporations, municipal entities, family offices, and nonprofits. To learn more, visit us at icemiller.com . View original content: https://www.prnewswire.com/news-releases/florida-based-international-transactions-team-joins-ice-miller-to-launch-new-miami-office-302330765.html SOURCE Ice Miller LLP
Easter Sunday is four months away, falling on April 20 in 2025 but some supermarkets already have seasonal stock out on their shelves. Chocolate eggs and hot cross buns have already been spotted for sale in shops including Morrisons, Tesco and Asda. As reported by Sky News , Gary Evans, 66, from Margate, shared a picture of Creme Eggs on display at his local Morrisons on Boxing Day. I’m a very liberal person but seeing Morrisons selling #Easter eggs right after #Christmas is where I draw the line 🥲 pic.twitter.com/RZR4gsvanx "I just think it's crazy that everything is so superficial and meaninglessly commercial... [there's] something quite frantic about it," he said. Meanwhile, Joseph Robinson, saw themed Kit-Kat and Kinder Surprise products at his local Morrisons in Stoke-on-Trent on Friday evening (December 27). He said: "It's funny as they've not even managed to shift the Christmas chocolates off the shelves yet and they're already stocking for Easter. "I wish that supermarkets weren't so blatantly consumerist-driven and would actually allow customers and staff a time to decompress during the Christmas period." (function (d, s, n) { var js, fjs = d.getElementsByTagName(s)[0]; js = d.createElement(s); js.className = n; js.src = "//player.ex.co/player/6754809d-db39-472a-a8e5-411c1ebefb1d"; fjs.parentNode.insertBefore(js, fjs); js.setAttribute('programmatic', 'true'); js.onload = function () { const playerApi232038 = ExCoPlayer.connect('6754809d-db39-472a-a8e5-411c1ebefb1d'); playerApi232038.init({ "autoPlay": false, "mute": true, "showAds": true, "playbackMode": "play-in-view", "content": { "playFirst": [ { "title": "Discontinued UK Sweets/Chocolates", "src": "https://large-cdn.ex.co/transformations/production/07e8370e-04f6-4f11-86d9-86c3c15c0e54/720p.mp4" } ] }, "sticky": { "mode": "persistent", "closeButton": true, "pauseOnClose": true, "desktop": { "enabled": false, "position": "bottom-right" }, "mobile": { "enabled": false, "position": "upper-small" } }}); }; }(document, 'script', 'exco-player')); On X (formerly known as Twitter) user @Jingle1991 shared an image of Malteser Bunnies in Sainsbury's on Christmas Eve and pointed out: "Easter chocolate already out. Jesus hasn’t even been born yet". Another added: "I’m a very liberal person but seeing Morrisons selling #Easter eggs right after #Christmas is where I draw the line". In an alternative view, marketing consultant Andrew Wallis, 54, admitted he was surprised to see Easter eggs in the Co-op in Kilgetty, Pembrokeshire. However, he added it also illustrates "forward-thinking" from big businesses. Recommended reading: Cadbury chocolate Easter eggs spotted in B&M as shoppers say 'far too early' Quality Street discontinues chocolate labelled 'favourite of all time' by fans I went looking for discontinued chocolates still on sale in UK - here's what I found He explained: "It made me reflect on how big brands are always thinking ahead and planning early. "My message to retailers would be: while planning ahead is important, it's also essential to be mindful of consumer sentiment. "Some might feel it's too early for seasonal products like this but others might see it as a sign of forward-thinking. Striking the right balance is key to keeping customers happy."NoneAfter Trump's Project 2025 denials, he is tapping its authors and influencers for key roles
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