In this episode, Jacob Krueger explores how The Brutalist defies conventional screenwriting wisdom by centering its story on a passive protagonist — and why this radical choice serves the film’s deeper themes.
In Part 1, we examined how research, historical accuracy, and expert feedback can shape (or constrain) a screenplay. Now, in Part 2, we dive into character structure and storytelling rules — specifically, why the main character of The Brutalist, Laszlo Toth (Adrien Brody), does not drive the action like a typical hero. Instead, the film subverts the classic hero’s journey by making Laszlo a character that things happen to, rather than a character who takes action.
In this episode listeners will learn:
- Why traditional screenwriting “rules” say passive protagonists don’t work — and why The Brutalist proves otherwise
- How to structure a screenplay around a character who doesn’t actively fight for their goals
- How The Brutalist uses hidden wants and external pressure to maintain dramatic tension
- Why non-traditional protagonists can still drive a story — even if they never stand up for themselves
- How theme dictates character structure — why The Brutalist’s immigrant experience demanded a passive lead
Rather than following the typical arc where a character pursues a goal and overcomes obstacles, The Brutalist reflects the immigrant experience, where survival often depends on complicated external forces — benefactors, family, good will, and luck. Laszlo’s story is one of disempowerment, mirroring how real-world immigrants are often at the mercy of people in power.
In this breakdown, Jacob explains how Brady Corbet uses hidden motivations, subtle structural shifts, and an unexpected climax — where Laszlo’s wife, rather than Laszlo himself, delivers the film’s defining act of defiance — to create a screenplay that challenges everything we think we know about writing strong main characters.
Tune in now to rethink everything you’ve been told about writing protagonists!
