The Oscar-nominated soundscape of Brady Corbet’s awards frontrunner was often recorded before filming had begun, before being blasted out of speakers onto the set of the film during production. Kevin E G Perry speaks to composer Daniel Blumberg about his very novel approach to music – and his surprise that it’s been so embraced
How The Brutalist made its disorienting, dazzling score: ‘It was hammers and screws making music!’ … from the Independent Kevin E G Perry
