From KCRW, I'm Kim Masters and this is the business.

As Mona Fastfolds, The Testament of Anne Lee is set to premiere at the Venice Film Festival.

We revisit our conversation with her and husband Brady Corbe.

Their award-winning film, The Brutalist, examined the often toxic relationship between art and commerce,

a dynamic the creative partners knew well from their own experiences. If you speak to any filmmaker, they will cite

an experience they had working with someone who had very, very different ethics or values than

they did. And I think that it's very complicated because your job as a filmmaker is to protect the flame

and make sure that it doesn't burn out.

Brady Corbe and Mona Fastfold talk about the seven-year battle to get their post-World War II epic to the big screen.

And they explain their audacious plan to make a three-and-a-half-hour film with an intermission.

The pair also talk about the state of the country, and Corbe

has some thoughts about Trump's plans to demolish brutalist federal buildings. But first we banter.

Stick around. It's the business from KCRW. I'm joined by my partner in banter, Matt Bellany.

Hello, Matt. Hi there.

So Matt, Netflix finally has something that I kind of admit I wasn't sure could happen,

which is the biggest movie in the history of Netflix, original movie, K-pop Demon Hunters.

And it has an interesting history. And I think the question is also, what does it

truly mean? So this was born out of a deal with Sony Pictures made during the pandemic where Tom

Rothman, who has no streamer and can't have a streamer because it's owned by Sony, shrewdly actually

sold a package of movies to

Netflix because theaters were closed. Little did we know, however, that this particular

anime-style film, this thing about a Korean pop band, they have a double life and hunt demons,

...