Deconstructing The Brutalist: Cinematography & Production Design
In a captivating episode of Finding the Frame, host Chris Haigh dives deep into the visual world of Brady Corbet’s The Brutalist with two of the film’s key creative forces: cinematographer Lol Crawley, BSC, and production designer Judy Becker. Both Academy Award nominees, Crawley (known for Vox Lux, The Childhood of a Leader) and Becker (American Hustle, Carol) bring a wealth of experience and a shared passion for visual storytelling to this unique project.
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This article unpacks the key insights from their conversation, exploring collaboration, creative problem-solving, and the art of crafting a film’s visual language.
This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.
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A SHARED VISION
The episode opens with a glimpse into the origins of Crawley and Becker’s filmmaking journeys. Crawley recounts his early fascination with the “dreamy, melancholic” images of music videos and the influence of cinematographers like Robbie Müller (Paris, Texas). This early exposure to evocative visuals, combined with hands-on experience in news and documentary filmmaking, shaped his responsive, yet highly stylized, approach.
Becker, on the other hand, describes a lifelong love of art, interior design, and cinema. It’s a passion that ultimately coalesced into a career in production design. Her approach is deeply rooted in research and a desire to create authentic, yet expressive, worlds.
Both filmmakers emphasize the importance of trust and a shared vision when collaborating with a director. For Crawley, working with Brady Corbet is a given. He implicitly trusts Corbet’s artistic instincts. Becker, similarly drawn to Corbet’s directorial vision after seeing The Childhood of a Leader, highlights the collaborative spirit that defines their creative process.
Judy Becker speaks to the enjoyment of creating the visual world. It’s a highlight for her. She describes the lookbook and ideas presented before meeting the director.
It is a process that has gotten harder now with the evolution of virtual meetings. The conversation also delves into the importance of thorough production meetings, especially on a lower-budget, ambitious project.
DRAWN TO THE BRUTALIST: TRUST & VISION
For Lol Crawley, the decision to join The Brutalist was almost instantaneous. Having collaborated with director Brady Corbet on previous projects (Vox Lux, The Childhood of a Leader), Crawley had complete faith in Corbet’s artistic vision.
He describes Corbet’s films as “thought-provoking,” highlighting the kind of cinema that sparks conversation and lingers in the mind — precisely the kind of work that drew Crawley to filmmaking in the first place.
Judy Becker’s connection to the project was equally strong, albeit rooted in a slightly different experience. Having been deeply impressed by Corbet’s The Childhood of a Leader, Becker actively sought out opportunities to work with him.
She describes her initial reaction to the film as “awe-inspiring,” recognizing Corbet’s mastery of all aspects of filmmaking. This admiration led her to persistently pursue a collaboration, a testament to her director-driven approach to choosing projects.
DESIGNING THE VISUAL LANGUAGE: VISTAVISION & THE ARCHITECTURE OF EMOTION
One of the most striking aspects of The Brutalist is its use of VistaVision, a large-format film system originally developed in the 1950s.
Crawley explains that this choice was driven by a desire to capture the scale and grandeur of brutalist architecture without the distortion that can occur with wider-angle lenses on smaller formats.
VistaVision, with its larger negative area and wider field of view, allowed them to “celebrate the space” while maintaining a strong connection to the characters.
The choice of VistaVision wasn’t merely a technical one. It was deeply intertwined with the film’s thematic concerns. Crawley emphasizes that the format allows for a unique balance between “celebrating the space and the performance.”
It avoids the overly close, “television” style of coverage, instead allowing the architecture and the characters to coexist within a larger frame, creating a sense of both intimacy and grandeur.
BRUTALISM AS A CHARACTER: MORE THAN JUST CONCRETE
For Judy Becker, the challenge of The Brutalist lay in bringing the architecture itself to life, making it a character in its own right. The central structure, the Institute, is not simply a backdrop. It’s a reflection of the protagonist, László Tóth’s (Adrien Brody) inner world. His past traumas and his aspirations.
Becker describes the Institute as a “factory-slash-crematorium disguised as a church,” a deliberately unsettling design that reflects Tóth’s subversive intentions and complex relationship with history. She draws inspiration from real-world structures, including a synagogue in New York with a hidden symbolic design only visible from above. This idea of hidden meaning, of a building that reveals its true nature only from a specific perspective, resonates throughout the film.
The stark, imposing nature of brutalist architecture is intentionally juxtaposed with moments of softer, more naturalistic design, reflecting the evolution of Tóth’s work and his personal struggles. The construction site itself becomes a character, with its evolving textures and forms mirroring the passage of time and the complexities of the building process.
CHALLENGES & TECHNIQUES: FILMING THE UNFILMABLE
Shooting brutalist architecture, with its vast, often unadorned spaces, presented unique challenges for Crawley. He describes a balancing act between formalism and intimacy, finding ways to capture the scale of the buildings while still maintaining a connection to the characters’ emotional journeys.
The film employs a mix of camera styles, from static, formally composed shots to more fluid, handheld movements. All in all, camera movements are dictated by the needs of each scene.
A particularly striking example is a complex, one-take sequence where the camera transitions from Steadicam to handheld and back again. All within a single shot. This audacious technique, executed flawlessly by operator Attila Pfeffer, reflects the filmmakers’ willingness to push boundaries and find creative solutions to technical challenges.
ADAPTING TO FILMING IN HUNGARY
The Brutalist, while set in America, was filmed in Hungary. This presented both opportunities and challenges. Crawley discusses the need to adapt lighting techniques to real locations. He strives to replicate the natural light that initially attracted them to a space. He also emphasizes the importance of observation and of creating a consistent, believable world. Keep in mind, that this is even when filming in a location that doesn’t perfectly match the story’s setting.
Becker’s production design played a crucial role in creating this believable American setting. From carefully chosen furniture and props to the strategic use of color and texture, she transformed Hungarian locations into a convincing representation of mid-century America.
EMOTIONAL & THEMATIC CORE: FINDING THE HUMAN STORY
Ultimately, The Brutalist is not just a film about architecture; it’s a film about people. Both Crawley and Becker emphasize the importance of finding the emotional core of the story. Especially, using their respective crafts to convey that to the audience.
Becker highlights the opening scene. It features a tense interrogation as a particularly effective example of how design can contribute to the emotional impact of a scene.
Crawley points to the Statue of Liberty sequence. A visually striking and thematically resonant moment that evolved throughout the production process. This is a testament to the power of collaboration and creative adaptation.
ADVICE FOR UPCOMING FILMMAKERS: FIND YOUR VOICE
Both Crawley and Becker offer invaluable advice for aspiring filmmakers. Becker stresses the importance of having a “source of inspiration.” A deep-seated passion for design that fuels the creative process. She encourages aspiring production designers to cultivate their own unique visual library. Draw inspiration from art, architecture, and the world.
Crawley echoes this sentiment. He urges cinematographers to “have something to say.” He emphasizes that technical proficiency is essential, but it’s not enough. A truly great cinematographer must have a personal vision. Moreover, a unique way of seeing the world, and translating that vision onto the screen. He encourages aspiring filmmakers to nurture your own “authorial voice” and to trust their instincts.
THE BOTTOM LINE: A MASTERCLASS IN COLLABORATION & VISION
The Finding the Frame conversation with Lol Crawley, BSC and Judy Becker offers a rare glimpse into the collaborative process behind a visually striking and emotionally resonant film. Their insights on visual storytelling, technical problem-solving, and the importance of a strong personal vision are invaluable. Particularly, for filmmakers at any stage of their careers.
The Brutalist stands as a testament to the power of collaboration, the enduring appeal of classic filmmaking techniques, and the transformative potential of a bold artistic vision. This podcast is a masterclass for all filmmakers.
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This episode is proudly lit exclusively by Nanlux-Nanlite Lights and sponsored by B&H and Hollyland.
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