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How you start the movie is critical. And how often you feel that there's no reason for how it's starting.

Noah Baumbach

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Noah Baumbach
Age: 55
Born: 1969
Born: September 3
Film Director
Film Producer
Screenwriter
Writer
Brooklyn
New York
Starting
Movie
Start
Often
Reason
Feel
Feels
Critical

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Being articulate, my parents could make anything sound reasonable.
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When I make a movie, I have both a specific and vague, amorphous dream idea of what the movie is going to be. Of course, I don't actually know what it's going to be, but I'm still striving to get to some place with it.
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I think it's always interesting how music means different things to different people, and people who overthink it are looking to in some ways show off with music, versus people who just respond to a song and decide to sing it.
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That's the nice thing about collaborating with someone: Your work becomes a conversation.
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I'm interested in music as an extension of character.
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It's nice being friends over a period of time with people whose music you like so much, or other filmmakers, seeing people change, go through trials
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I think anxiety is dangerous, but it makes you think it's your friend.
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When I start a movie, there will be certain films that I watch again just because the vibe seems right.
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I'm curious how people build up the codes that they live their life by, and how they come to think that that's the best way for them to function.
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I find a lot of writing happens when you're not actually at the computer. So I carry a notebook.
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When I meet certain filmmakers, sometimes you sit down and you do have some kind of shorthand. It can be fun to see them as someone who has been through similar experiences, but also as someone who just loves film. You can talk with them about films in a way that feels really free.
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I read all the time. Sometimes I get asked if I've thought about writing a novel.
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I love black-and-white movies that are about contemporary subjects.
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Friends of friends had bands in college or in their early 20s and had a moment where they had some kind of interest from a record label or manager. It's always interesting how people handle those decisions and those moments.
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I don't like when you necessarily know that this is the end of the movie. I like when a movie ends abruptly. You go through this, and some of the scenes are uncomfortable, and some are funny - and then suddenly it's over.
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I'm always looking for overlooked post-Dylan singer-songwriter records from the '70s.
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I do like having books on my shelves. I do value that life.
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I think I've always been drawn to the notion of talk as cinematic.
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I get a lot of responses to my movies. Some people say, 'Oh, I thought it was really funny - I hope that's okay!' And my answer always is 'Yes. It's totally okay.'
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