with time, Brody is a little smarter about what is worth suffering. To explain this change, he talks about a movie he made over a decade ago. Wreck It was a nauseous thriller that opened shortly after his character crashed into a canyon and suffered memory loss (or worse). Brody appears on almost every shot with varying degrees of pain. “You just see me screaming and hanging out for a few hours,” he explains. The shooting was cruel. The character spent the entire movie with a broken leg. In short, Brody spent most of his production crawling across the floor. After a while, his palm was full of thorns, and he began to crawl with the back of his hand.
One day, as the crew was shooting by the river, Brody noticed that the rushing water carved this perfect little oval pool in the center of the rock. In this pool, Brody saw “a drowning earthworm swelling at the bottom of a stone.” It looked like one of his mother’s pictures. This little worm filled him with emotions, fighting a battle that was drowning, but still fluttering on the surface and could see Brody destined to lose. He knew this was why he was suffering through the shoot — this was his personality in a single shot. “That guy isn’t going to get it done, and it’s so beautiful,” he says. “It’s very picturesque and tragic and covers everything we’re saying.” He asked the director to shoot it.
However Wreck It was a stand-alone feature, tied to cash, and always had no time to spare. The director said no. Brody asked again. The director said no again. “I eat it,” Brody offered. The director asked for his camera. Brody ate the worm.
“I didn’t like it,” Brody told me. “I think I got sick.”
He paused. “But it’s in the movie.”
He shares this story with me on a rocky trail above sunny Los Angeles. The exciting third act of his career is laid out like a highway humming under us. Looking back at the worms he ate, Brody now wonders what purpose his sacrifice actually served. “For what benefit?” He asks. “Who noticed it?” Wreck It’s a rare indie game, and you can hardly find a scene unless you’re looking for it. He knows he didn’t have to do that. “But for some reason I’m forced,” he says.
I think what he learned is something about his own expectations. Perhaps release something. You don’t have to believe that eating a worm makes a great movie a great movie. Or re-pointing underground stones (stones that no one sees) will atone for years of refurbishment blunders. Doing difficult things is not always the answer. Suffering does not make you a better artist, and it definitely does not make it easier for you to be around. But you cannot learn what you really are made of without a fair share of suffering.
Earlier in the day I asked why he seized his castle. Once the refurbishment began to be postponed, he had never considered getting rid of what became very expensive, reminiscent of difficulties. time. He was thinking of that idea. Of course he had, he told me. Why couldn’t you? “Maybe it sold. I went out and said, This is overkill, “He said, and as if it were the most obvious thing in the world:” But I can’t do that. “
Sam ShuveteethGQ Deputy Site Editor..
A version of this story was originally published in the November 2021 issue entitled “Adrien Brody Finds His Cold”.
Photo by Jason Nosheet
Styling by John Thiets
Hair bye Tom Priano For R + Co.hair care
Skin by Kumi Craig For the wall group
Tailoring by Xenia Gorab
Set design Robert Samrel For Walter Schupfer Management
Produced by Eric Jacobson At Hen’s Tooth Productions
Adrien Brody’s “Succession”, Pat Riley’s acting, and the Oscar-winning dark side
Source link Adrien Brody’s “Succession”, Pat Riley’s acting, and the Oscar-winning dark side