One of the prominent talking points around recent Best Picture nominee The Brutalist is the level of commitment it asks of its audience. Tipping the scales at a hefty 214 minutes, the film is thoughtful enough to include an intermission as it tells a tale about the complexity of creation, collaboration and capitalism.

With more than three and a half hours of movie to talk about, our hosts have ample opportunity to share thoughts about the latest from director Brady Corbet — well, one of them does anyway. An unfortunate household appliance situation interrupted Kpolly’s attempt to see The Brutalist, leaving Dori as our lone Cinebud with opinions to offer.

Fortunately, this just so happens to be a “very special guest” episode featuring not one but TWO podcast debutants: Milwaukee Film’s Kelsey Parks and Kevin Rice!

We asked the organization’s technical manager and technology director to join us because this film is a bit of a technological marvel because of its … film. With an assist from IMDb, here’s a quick explainer:

The film was shot entirely in VistaVision, a widescreen format that runs 35mm film horizontally through the camera to create eight perforation film frames, twice the size and resolution of standard four perforation 35mm. The film was then released in theaters with 70mm film prints. … This is the first American film in 61 years to be entirely shot in the format, the last being My Six Loves (1963). Director Brady Corbet explained: "It just seemed like the best way to access that period (1950s) was to shoot on something that was engineered in that same decade."

It’s one thing to read about the unique filming approach and another to actually show it to audiences. Kelsey and Kevin have the insiders’ perspectives on what it took to get The Brutalist on the big screen at the Oriental Theatre, which is one of a shrinking number of venues across the country equipped to project 70mm film.

Then there’s the workout the Oriental Theatre’s projectionists get with every screening. Each reel weighs roughly 40 pounds, and they need to be changed every 40 minutes without audiences noticing the transitions. It’s a really interesting look behind the curtain (or into the projection booth) that we’re proud to provide in this episode.