By Tim Pelan
Brazil is the demented, surreal flip-side of George Orwell’s dystopian warning—1984 1/2 was director Terry Gilliam’s originally mooted title. Yet it is Gilliam’s comic vision that depressingly reflects and permeates our everyday culture. One of the bureaucratic balls-ups, government catch-all catchphrases (“We’re all in this together”), and an ineffectual war on terror that, in Brazil, may be down to no more than bad plumbing. Where is Brazil? Somewhere on the hinterland of L.A and Belfast, said Gilliam, summing up the lunacy of la-la land and the then 1985 Troubles town. An expressionist, alt-present sci-fi Gotham inspiration rooted in a 1940s vision of a possible future, with unwieldy gizmos and gadgets, yet timeless in its themes. “It’s about the impossibility of escaping from reality,” as Gilliam says, but trying all the same. Gilliam threads this satirical and increasingly dark tale through a designer’s dream of a film. In an unnamed city, Sam Lowry (Jonathan Pryce) keeps his head down in the Department of Records, covering for ineffectual boss Mr Kurtzmann (a brilliant Ian Holm).
Meanwhile in his dreams, he is a winged warrior, who soars amongst the clouds, battling a giant samurai creature and rescuing a Botticelli Venus from her aerial cage. When he meets her earthly counterpart Jill (Kim Greist), determined to right a wrongful arrest, he seeks to help by correcting the clerical error that led to her neighbor’s death (“Buttle, not Tuttle!”). From then on, events quickly spiral out of his control. That’s just the surface of Brazil. Gilliam and his co-screenwriters (an uncredited Charles Alverson (Jabberwocky), Charles McKeown and most famously, Tom Stoppard worked on it on and off over six years) stuff the film with subversive bon mots, furiously paced slapstick and sight gags, and the blackest of humour—it is at once thrilling and hilarious. Jonathan Pryce is in virtually every scene, and has probably never been better than here—he absolutely sells this everyman’s descent into the abyss.
Gilliam began writing the script in 1979, partly influenced by a book he discovered in fellow Monty Python alumni Terry Jones’ home. The book recounted how during the Middle Ages, those accused of witchcraft, convicted and burned, had to pre-pay their torturers for the expense of the trial and questioning/detention. This bureaucratic element comes up in the film—after the Special Patrol Group drill a hole through the unfortunate Buttle’s ceiling and haul him off in a sack, having his shaken wife sign his arrest dockets (“Press harder this time please”), the also charged-for replacement for the piece cut out of the ceiling is predictably too small. “Bloody typical,” says Nigel Planer’s Dept of Works gaffer. “They’ve only gone back to metric without telling us.”
Robert De Niro’s rogue heating engineer Harry Tuttle (the real target of the earlier mix-up) becomes Sam’s hero after a calamitous air-conditioning foul-up in his flat (“Trouble with your ducts?” Bob Hoskins’ Central Services engineer enquires almost menacingly). “This whole system of yours could be on fire and I couldn’t even turn on a kitchen tap without filling in a 27b/6,” Tuttle tuts, before setting to fix it himself. The address is a nod to dystopian author George Orwell’s address in Islington, London—Apartment 6, 27B Canonbury Square. Red tape permeates every facet of Brazil-life. Central Services’ cephalopod-ian ducts are everywhere, from high-end restaurants (glammed up to fit the overall decor) to basic citizens dwellings (Tuttle memorably dispatches the meddling Hoskins in a particularly disgusting pipe-switch shit-storm).
Brazil was rightly Oscar-nominated for its script and production design. Wide Angle/Closeup has a fascinating interview with designer Norman Garwood, who’d worked with Gilliam (as Art Director alongside Milly Burn as Production Designer) on Time Bandits. Garwood spent a lot of time brainstorming with Gilliam and costume designer Jim Acheson. “The overall design was art deco with a futurist twist—I started to look at a lot of ’30s and ’40s, mostly ’40s magazines… these inventions they would find… it was almost like ‘the shape of the world to come’. Everything fit into a path, once we’d established what the world was and what Central Services was—really there wasn’t much terrorism around, it was really Central Services’ bad, bad workmanship kept blowing up.”
Lowry’s apartment is a daffy version of Deckard’s in Blade Runner, badly designed—the teasmade that pours out over his toaster, for example, and the switchboard-like telephone controls. Brazil extrapolates earlier period visions of the future, bulky and absurd to our eyes, incongruously chirpy in other ways—such as the Messerschmitt bubble car Lowry drives to Shangri-La Villas to attempt to reimburse Buttle’s widow with a troublesome cheque (Lowry is actually not that sympathetic a character, just wanting a quiet life—“You’re not being very helpful,” he flaps as Mrs. Buttle understandably has a breakdown).
He and his fellow clerks watch westerns on their computer monitors behind Kurtzmann’s back, like present-day office workers on Youtube, Twitter, or Facebook. The film is filled at times with Chaplin-esque humor, such as when a newly-promoted Sam struggles to retain his half of a desk in his tiny office/cell, disappearing through the wall to the next grim-faced drone’s sweatbox cubicle. Hot-desking in DoubleSpeak.
The film made use of several locations, dressed for the film, as well as studio space. The office was a big studio build, deliberately very monochromatic, grey and somber, cramped and busy, with over-sized machinery and office boys constantly scurrying around. The exteriors around the apartment blocks were shot in France, a post-modernist block in Marne-la-Vallée.
A lot of the oppressive Ministry interiors were forced perspective shots of endless drab corridors, and wide-angle hallways, designed to wear individuality of expression down to a nub. The amazing torture chamber where Sam is to be questioned by his creepy-baby-masked friend Jack (Michael Palin) was a cooling tower for a closed down power station in Croyden (Battersea was used as an exterior only). Gilliam and Garwood (they sound like a sinister secret police duo!) originally were considering the basement area of the location. Garwood recalls: “We found some amazing basement areas of machinery and pipework and tubes and whatever for the chase at the end, then we were just looking around the perimeters of the closed-down power station and there was a huge cooling tower (they were all abandoned and had been left for some years). Basically all it was this huge tower where the water would be shot up in the air at amazing hot temperatures and then it would filter down and cool off and recycle again. We walked into this cooling tower and it was just a wonderful location. I was going to build a torture room and we had very much a different image for that in mind: it was going to be white and clinical. And we walked in and Terry and I both said, ‘Well, it’s gotta be the torture room.’ That was how that arrived. That one was really just an amazing find we had.”
Roger Pratt, the cinematographer (he later did Batman), lit it with floodlights on an enormous crane. Pratt was involved at an early stage in the planning of the sets, giving his input into how they could be best lit, showing them off. With Lowry being wheeled into the torture chamber, Brazil seems to predict State cruelty through enforced assessment. “Don’t fight it son,” a seemingly kindly guard tells a terrified Sam. “Confess quickly! If you hold out too long you could jeopardize your credit rating.”
Gilliam apparently had nice guy Michael Palin in mind all along to play the state torturer Jack Lint. As Palin recalls, “De Niro was shown the script and he had a look-through and he said, of all the parts he’d like to do, Jack Lint was the one. So Terry said (this is Terry’s story anyway), ‘I’m sorry, my friend Mike is going to do that. You have to choose something else!’ [LAUGHS] So that must be a rare example of De Niro being turned down!”
Palin and Gilliam settled on playing Jack “as someone who was everything that Jonathan Pryce’s character wasn’t: he’s stable, he had a family, he was settled, comfortable, hard-working, charming, sociable—and utterly and totally unscrupulous.” (So much so that when his boss mistakes his wife’s name, he insists on her responding to the new moniker in future–career is everything). Nowhere is the “banality of evil” better portrayed than when Sam comes to Jack’s office for help. As he enters Jack has his back turned, gripping his face in some existential crisis, white coat bloodied. Quick as a flash he spins around, all smiles, whipping the coat off. They discuss Sam’s problem as Jack tidies his little daughter’s toys (the little girl was Gilliam’s daughter Holly).
“I think because that scene was eventually played with an element of humor,” Palin recalled, “it actually concentrates the disturbing element much more, because if it’s just desk-to-desk it is more like a stock scene out of any thriller, and you’re not quite listening to the lines, you’re just observing the tension between the two people. If you’re laughing then you’re becoming much more involved in the scene, and I think an audience is beginning to feel a sort of catharsis. You know, we’ve all been children, a lot of [the audience] have children, they’ve been through that before, and suddenly the chilling line will come through—‘There’s nothing I can do for you, that’s it,’ you know?—and I think it makes those lines much more memorable, makes Jack’s attitude much more memorable.”
It is around the point in the film where Sam “escapes” that difficulties with the studio really came to a head. Universal Pictures refused to release Gilliam’s cut, allegedly insisting on a happy ending. Sidney J Sheinberg was the then president of MCA, Universal’s parent company (Brazil was joint-financed by Universal and 20th Century Fox). At the studio screening, Universal’s suits hated it (Gilliam said Fox had no problem with it). Sheinberg insists he thought it was brilliant, but needed trimming to bring the running time down. He insisted to Total Film in 1998 that, contrary to popular belief, he didn’t want a happy ending, just a more satisfying one—he believed audiences were left confused by it. He also claims Gilliam’s attitude hardened once he’d been paid. He refused to budge, even though he had no contracted final cut. Sheinberg ordered his own cut, with Lowry and Jill escaping, Blade Runner original cut style, into the countryside. But Gilliam, like his later cinematic obsession Don Quixote, began tilting at Sheinberg’s windmills, making the battle personal. He took out a full-page ad in Variety, personalizing the struggle, boldly asking Sheinberg, “When are you going to release my film Brazil?”
Asked about the problems with the studio raised by his Variety ad on TV show Good Morning America, Gilliam pulled out a large photo of Sheinberg and held it up for the camera. “I don’t have any problems with the studio. I have problems with one man—his name is Sid Sheinberg and he looks like this.” Gilliam told David Morgan in 1986:
“I wasn’t going to budge, and Sid Sheinberg in particular had to show that the studios were in control. So we were locked in this sort of silly, long, drawn-out war of attrition… One thing I knew we couldn’t do was take them on in legal ways because they had the lawyers, they had the money, they had all the time in the world and we didn’t. There was no way we could win with them on it. It would just get tied up in the courts and go on for years. And so that’s why I decided the only way to deal with it was to go very public and do a public battle, and to name names which was something they were totally unprepared to deal with.”
By the end of 1985, Sheinberg began to sense that the dispute was generating renewed interest in the film, and that there’s no such thing as bad publicity. Brazil was finally released in December 1985 in a limited run. Sheinberg insists it did better than it would have had the dispute not arisen.
As for the original, retained ending, Gilliam insists it is a happy ending–of a sort. As Jack and avuncular Deputy Minister Mr Helpmann remark, gazing at the catatonic, grinning Sam in the torture chair, he’s got away from them. Jack wheels Mr Helpmann away, as Sam unblinkingly begins to hum the song, Aquarela do Brasil…
Written by Tim Pelan. Tim was born in 1968, the year of ‘2001: A Space Odyssey’ (possibly his favorite film), ‘Planet of the Apes,’ ‘The Night of the Living Dead’ and ‘Barbarella.’ That also made him the perfect age for when ‘Star Wars’ came out. Some would say this explains a lot. Read more »
In the video above, Terry Gilliam reveals insights about Brazil, his Orwellian retro-futurist fantasy. Gilliam also talks about his love of 2001: A Space Odyssey, his dislike of middle management bureaucracy, and his experience of casting Robert De Niro.
TERRY GILLIAM ON 40 YEARS OF ‘BRAZIL’
“I had the advantage of never wanting to have a career, so there was nothing to lose. I just reacted to what was going on, and I decided to make it personal, because there was this irony that I’ve made a satire on bureaucracy and suddenly I’m dealing with these bureaucrats who want to change it. Sid Sheinberg was a confused man. He didn’t like or understand the film, but his problem was that his wife [actress Lorraine Gary, best known for her role in Jaws] did understand it and liked it. Sheinberg was playing the responsible adult, and I was the kid, who was nothing but trouble. It was great fun, and it was also the arrogance of being a Python, because we were at the peak of our fame, and the six of us had complete control of our show. We weren’t trained to work for other people and that’s what happened with Brazil. When I saw the studios behaving as they were, I thought ‘F–k them, we’re gonna go to war here. Let’s see what happens.’”
—Terry Gilliam
“Robert De Niro was suggested by the producer, Arnon Milchan—it turned out Bobby was a big Python fan. Though his character, Tuttle, is a relatively small part, he’s the hero really, as he’s the only person who’s achieving anything. I said to him: ‘You’re a plumber, but I want you to treat the plumbing like it’s brain surgery.’ He actually found a New York neurosurgeon and sat in on an operation as part of his preparation, though when you see Tuttle handling equipment in closeup, those hands are mine. Christmas seemed a great season to place the film—presents for executives, goodwill to all men, an ironic contrast to the grim reality of that world. Mr Buttle’s arrest would feel much more shocking and horrible with the family gathered around the tree and carols floating in the background; the paperwork floating through the air after the Ministry is blown up would be like snow falling; and what better than deputy minister for information Mr Helpmann turning up in Sam’s padded cell dressed as Father Christmas?” —Terry Gilliam
“Well the advantage of being in Monty Python was that we got away with murder and there was nobody telling us what we could or couldn’t do. We just did it. And time after time it was successful So you build a certain amount of confidence, and a little bit of arrogance. So when it comes along to making a film and you’ve spent a couple or several years on it, it seems to me I have the right to make my mistakes, and not somebody else’s mistakes. At the end of the day, the film was released in Europe with no problem with Twentieth Century Fox, but with Universal in America it was different. The great wonderful thing about Universal is it’s housed in a black tower that looks like the monoliths in Brazil; it’s not intentional, it just happens to be one of the little coincidences that keep occurring around Brazil. But anyway, [the people at Universal] were appalled by the film. They thought it didn’t work. They wanted me to change the ending, give it a happy ending, because more people would see the film and like the film and it would be better for everybody. I said no, and then they embargoed the film and they started cutting it. I decided to wage a campaign and I said to the producer, ‘Lawyers are no good—[Universal’s] got all the lawyers in the world, they’ve got all the time in the world, and they don’t have to release the film, so let’s go public and personal.’ And that’s what I did. I took out an ad in Variety, a full-page ad, with little black strips around the edges like Italian death notices. The very middle of this big blank page—you know Variety’s covered with just zeroes, really is all it seems to be: ‘Ten million dollars in the first two seconds.’ And then there’s the second page with the neat border and in the middle in neat typing, ‘Dear Mr. Sid Steinberg [the head of Universal], When are you going to release my film, Brazil? Signed Terry Gilliam.’
It seemed pretty straightforward, but you don’t do that in Hollywood, and the whole place went bloing! It was extraordinary. And there was a man named Jack Matthews who was a journalist for the LA Times, and he ran with this thing. He basically kept a dialogue between me and Sid Steinberg going, even though Sid and I weren’t speaking. He would come to me and ask me to say something and then he’d go to Sid and say, ‘Terry said this,’ and then Sid would react in a stupid way. Because Sid really believed that if this were allowed to sneak through—this kind of expression, artistic expression and directors getting away with murder—that the whole thing would be over. Hollywood would collapse. I think he actually believed it. And this dialogue went on and on. We offered any legitimate journalist interested to be flown to London, or wherever it was showing in Europe, or we could bus them down to Tijuana, where we would show it. And what finally happened was we started a series of clandestine screenings hosted by L.A. critics and their friends because there was this embargo saying we could not show that film anywhere in America—ever. And at the same time Universal is beavering away doing their version of the film. And the L.A. critics—eventually I think about seventy five percent of them saw it—when it came time to vote for films of the year they discovered in their bylaws that the film didn’t actually have to be released—it could still qualify. And so on the night of Universal’s biggest film of the year, Out of Africa, premiering in New York—Redford, everybody’s there in their tuxes—the L.A. critics announced their winners. Best film: Brazil. Best screenplay: Brazil. Best director: Brazil. They [Universal] were in such a flap—they immediately released it in New York and Los Angeles, and they had no posters. They had nothing—they had a Xeroxed copy of the artwork they were going to eventually make a poster of. That’s all they had. And it did proceed to do the most business per theater of any film at that time.” —An Interview with Terry Gilliam
Now widely regarded as a masterpiece, Terry Gilliam’s 1985 dystopic dark comedy Brazil was very nearly shelved by Universal. But one of its stars—Robert De Niro—played a hand in rescuing it from oblivion. “The studio did not like the movie at all,” says Gilliam on The Hollywood Reporter‘s It Happened in Hollywood podcast. The director recalls standing at the back of a room filled with “knotted backs of necks” as Brazil screened for Universal execs for the first time.
SHOT TO REMEMBER
Terry Gilliam used home-made ingenuity to create the high-tech lowdown look of his Orwellian nightmare. Here he shows how he shot his hero’s torture and escape.
Terry Gilliam’s storyboards for Brazil.
Rob Hedden’s 30-minute on-set documentary, What is Brazil?, which includes behind-the-scenes footage, as well as interviews.
Terry Gilliam and the crew of Brazil look back at the making of the film and all the issues they had along the way.
Director’s commentary was recorded in 1996.
JONATHAN PRYCE, PLAYED SAM LOWRY
“Nowadays, if I get stopped in the street it’s almost invariably by people who remember me from Game of Thrones, James Bond or Brazil. Those first two have been watched by a gazillion people, but with Brazil I think it’s because it had such a big impact on those who saw it. Terry originally offered me Time Bandits, but I’d just finished playing Hamlet at the Royal Court and was completely broke, so I accepted another offer, for a heist film called Loophole, which paid better but disappeared without trace. Not one to hold grudges, two years later, Terry offered me Brazil. I read the script and knew immediately it was something I absolutely had to do. Terry’s wife, Maggie, was doing makeup on the film—she had a boxful of old Monty Python wigs, which came in useful for the screen test, as I’d just finished playing the priest Martin Luther and still had a tonsure shaved into my head. [Producer] Arnon Milchan didn’t want me to play Sam—he was quite vehement about it. Terry arranged a meeting which was going terribly until Robert De Niro walked in with his young son, Raphael. De Niro pointed at me and said, ‘Do you know who this is? It’s Mr Dark!’ At which point, Raphael recoiled and hid behind his leg. Mr Dark was a character I’d played in Ray Bradbury’s Something Wicked This Way Comes—apparently I’d made an impression. After the meeting Terry called me at home to tell me I had the part. ‘Bobby likes you,’ he said. ‘And if Bobby likes you, Milchan likes you.’
I was on set almost every day for months, while all these visiting players came and went—Bob Hoskins and Derrick O’Connor, Palin and De Niro—and that kept the energy going. I saw Brazil as a way of marrying my theatre experiences with film. I had done a couple of films early on with Stephen Frears where he told me to make my face a blank canvas. I thought that was what you did for cinema. With Terry, it was the opposite—after every take he would say: ‘Do more!’ There are very few closeups in Brazil, nearly everything was wide angle, full figure. I was encouraged to speak with my whole body. A lot of the scenes of Sam swooping in his angel costume were done with a 13in model, but I did get to do some flying on wires. Mostly that was fun but it could be painful. I’d be hanging from the top of the studio saying: ‘Can we go? This is agony!’ And Terry would shout up: ‘This is your punishment for turning me down for Time Bandits!’ Also, I’m claustrophobic. There was one sequence where I was bolted to a big metal arm having layers and layers of costume strapped on and I started to panic. We had a nurse on set who gave me some Valium. If you notice me looking a little glazed in some shots, that’s why. One thing Terry and I do disagree on is the ending—he sees it as optimistic, I think it’s horrible, an absolute nightmare. But then that’s partly the joy of the film, that it’s open to interpretation. I think the end credits were the first time I got to sing on screen. Since then, in anything I’ve done, if I can get a song in, I’ll do it.” —Jonathan Pryce
ROBERT DE NIRO, PLAYED HARRY TUTTLE
Terry Gilliam talks about working with Robert De Niro on Brazil.
“I worked on the script with Chuck Alverson and Charles McKeown, but it was Tom Stoppard who eventually pulled the whole thing together. There were a lot more fantasy sequences in the original screenplay, but 12 weeks into shooting it became clear we were going to go way over budget and would end up with a five-hour film. We shut down for a week and I spent that time tearing out my favourite bits.”
—Terry Gilliam
Screenwriter must-read: Terry Gilliam, Tom Stoppard & Charles McKeown’s screenplay for Brazil [PDF]. (NOTE: For educational and research purposes only). The DVD/Blu-ray of the film is available from the Criterion Collection in new, restored high-definition digital transfer of Gilliam’s 142-minute director’s cut, approved by Gilliam, with DTS-HD Master Audio surround soundtrack on the Blu-ray edition. Absolutely our highest recommendation.
Screenwriter. Director. Playwright. Shakespearean scholar. Tom Stoppard is a tremendous creative force. His film credits includes Brazil (1985), Empire of the Sun (1987), Billy Bathgate (1991), and Shakespeare in Love (1998).
ROGER PRATT—AN ICON OF CINEMATOGRAPHY
British cinematographer and Academy Award nominee Roger Pratt, BSC, has carved out a magnificent career during which he collaborated with the likes of filmmakers such as Terry Gilliam, Richard Attenborough, Mike Leigh, Neil Jordan, Tim Burton and many others. A graduate of London Film School, Pratt established himself as one of the most distinguished cinematographers in the game today, while his work on movies like Brazil, The Fisher King, Batman, 12 Monkeys and The End of the Affair stand out as stunning visual achievements many generations tried to emulate. As an artist and craftsman, Pratt succeeded in elevating pictures on both sides of the filmmaking spectre, as he worked on numerous big-budget mainstream productions as well as more intimate, art-oriented endeavors.
Check out this great interview Roger Pratt gave at the 15th Raindance Film Festival back in October 2007 in London.
In January 2019, BAFTA hosted a special tribute to Roger Pratt to pay respects to his immeasurable contribution to the world of cinema. “From jaw-dropping gothic visuals to epic vistas and subtle character plays, Pratt’s incredible filmography demonstrates an enviable mix of the classic with the contemporary.” —BAFTA
British Society of Cinematographers released a wonderful Behind the Camera segment with Roger Pratt. Well worth your time!
In loving memory of Roger Pratt (27 February 1947—31 December 2024)
Here are several photos taken behind-the-scenes during production of Terry Gilliam’s Brazil. Photographed by David Appleby © Embassy International Pictures, Universal Pictures, 20th Century Fox. Intended for editorial use only. All material for educational and noncommercial purposes only.
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