Zitat des Tages von Noah Baumbach:
When you're around your family, and you have that history and that shared language, you say things you'd be embarrassed to hear quoted back to you later.
My dad was a great movie companion. He wouldn't diminish 'The Jerk.' If I liked it, he liked it. He could see it through my eyes.
I feel a real connection to Brooklyn, certainly, because I spent 20 years of my life there, but I don't think of myself as a Brooklyn artist any more than I think of myself as a male artist.
I'm a huge proponent of therapy and analysis, but it's something that, in a nonprofessional way, can be abused.
There's always some generational-guys-hanging-out movie that is made every few years, I think, and some of them are great.
I made two movies very young, and then I had trouble getting a movie made, and so - which was both, I think, a plus and a minus. It was a minus because it made me unhappy.
We all have these notions of cool that come about at different points in our lives, and it's interesting in how it evolves or doesn't evolve in different people.
There is an isolated experience to being a director. It's very communal because there's a crew, but it's only you. You're the one on the hook.
I know people who are incredibly successful who still dress the way they did when they were 18, just because they still think that's how they look good.
I'm interested in the way major events don't necessarily announce themselves as major events. They're often little things - the drip, drip of life that changes people or affects people.
I think I was going through a lot of change at 27, but I didn't know it was happening until it was over.
There's something really vulnerable about playing something that you like for someone. You don't know what their reaction will be.
I try to procrastinate, if I can, productively, like I'll work on something else as procrastination. Or I take a walk. Because often I find, if you get out, more things come to you.
I think anxiety is dangerous, but it makes you think it's your friend.
When I start a movie, there will be certain films that I watch again just because the vibe seems right.
That's the nice thing about collaborating with someone: Your work becomes a conversation.
I was late to the Knicks. My dad was a big fan. But I first started watching baseball; I became a Red Sox fan. My dad was a Mets fan. I wanted to have my own team and league.
With 'Greenberg,' I wanted to make a movie about Los Angeles... my great love for it and also the way that I felt not at home and alienated there.
I grew up in the heat of '70s postmodern fiction and post-Godard films, and there was this idea that what mattered was the theory or meta in art.
How you start the movie is critical. And how often you feel that there's no reason for how it's starting.
I suppose some studio executive would say it's death for a comedy if people aren't all laughing in the same places, but I find with my movies that people laugh in very different places. I can't control it.
It's near impossible to make a movie in black and white in the system.
Dance is a profession with an expiration date for many people.
I like shooting in New York because I have such a connection to the city. I have so many memories there.
It's going to start really interfering with your quality of life, your health, if you don't adjust to life as it's happening to you.
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.
I think I've always been drawn to the notion of talk as cinematic.
I've always felt some kind of connection to people who are kind of over-smart. People who over-think things to the point of some sort of paralysis, and I think that certainly can be me on any given day.
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.
A film set becomes its own family anyway, and all family dynamics come out during a shoot. The trick is hiring people who know how to handle that.
Many of the crew members I work with and continue to work with were friends or have become close friends, and so we keep working together. And I like casting friends of mine or people I know in parts I know would be perfect for them. I like to bring things and people that mean something to me in to my work.
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.'
I think if we taped a lot of families that claim to be relatively normal, you'd be surprised when you hear some of the things said.
I used to get up and write every day, even if I wasn't working on a specific thing. Now, when I have a thing I'm in the middle of, I do that, but when I'm not, time can go by when I'm not writing at all.
The real achievement of Woody Allen was that he was making movies that felt very personal, and for a whole group of people, it spoke to them. Then he became an archetype, like Groucho Marx or Chaplin.
I still carry the residue of the pressure I felt as a child to read and appreciate the right books. Growing up, I never allowed myself to read beach reading. I was always plowing through Ford Madox Ford's 'Good Solider' or something I wasn't equipped to understand.