Noah Baumbach quotes: wise famous quotes, sayings and quotations by Noah Baumbach

Noah Baumbach Famous Quotes & Sayings

Discover top inspirational quotes from Noah Baumbach on Wise Famous Quotes.

I think anxiety is dangerous, but it makes you think it's your friend.

I think I've always been drawn to the notion of talk as cinematic.

I find a lot of writing happens when you're not actually at the computer. So I carry a notebook.

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.

When I was a kid, I would fantasize about my own funeral.

A lot of black-and-white films generally have a color version that will be used for TV.

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 didn't train in directing; I talk to actors the way I talk to anybody.

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.

I'm interested in music as an extension of character.

I'm a huge proponent of therapy and analysis, but it's something that, in a nonprofessional way, can be abused.

It's kind of major, learning to drive. I feel like it kicked up other stuff in my life.

I always viewed life as material for a movie.

There's always some generational-guys-hanging-out movie that is made every few years, I think, and some of them are great.

Wes Anderson's films, 6-year-olds are crazy about them.

Being funny, in some ways, is about being connected to psychology.

Defining yourself by your taste is easier than defining yourself by any genuine stance on something.

I do like having books on my shelves. I do value that life.

I'm good with a grill. I like to make cheeseburgers - I once read in a David Goodis crime novel that you're only supposed to flip a burger once.

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.

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.

Wes Anderson grew up in Houston, and he and I talk about Manhattan in similar ways, as a kind of fantasy world.

I've had times in my life when I really haven't been able to figure myself out.

Even fairly serious moviegoers can't shake this shadow of the corporate world.

I think I was going through a lot of change at 27, but I didn't know it was happening until it was over.

I'm sure I've said some pretty bad pick-up lines.

When I start a movie, there will be certain films that I watch again just because the vibe seems right.

I live in Manhattan now, because, in a way, it was my fantasy.

Dance is a profession with an expiration date for many people.

I've always liked working with friends or, you know, people I have outside relationships with.

I love black-and-white movies that are about contemporary subjects.

That's the nice thing about collaborating with someone: Your work becomes a conversation.

Other people have worked with big studios and maintained control over their movies. I see no reason why it wouldn't work for me.

I read all the time. Sometimes I get asked if I've thought about writing a novel.

I like shooting in New York because I have such a connection to the city. I have so many memories there.

I don't agree with the idea that my characters are unlikeable.

It's near impossible to make a movie in black and white in the system.

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.

Truffaut loved Hitchcock.

I think all my movies are about transitions to some degree.

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've had great experiences or joyful experiences making a movie that people found very disturbing.

It's always really special to be at the New York Film Festival, and always a real privilege.

I'm always looking for overlooked post-Dylan singer-songwriter records from the '70s.

I try to write 'and it's all very funny' after each scene description so that the reader can imagine the movie in their head.

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.

You can be aware that something is idiosyncratic, and give it to a character, but keep doing it.

Being articulate, my parents could make anything sound reasonable.

I kind of live like a writer. I get up and I write. I've done that my whole life.

Anyone who's putting money into your movie would always rather you cast well-known people.

'Frances Ha' is the closest final product to what I had in my head of any movie I've made. I'm not entirely even sure why that is.

I like having associations with locations beyond their meaning for the specific movie.

There's something really vulnerable about playing something that you like for someone. You don't know what their reaction will be.

There are the people who overthink making mix CDs and playlists, and how that works generationally is all really interesting to me.

Will Ferrell's made a lot of brilliant movies.

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.

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

Manhattan is so tailored. It's driven by appealing to the very wealthy and tourists.

I watch movies all the time, so it's hard to pick certain specific directors that have inspired me in the aggregate.

I wouldn't say 'Frances Ha' is autobiographical, but it's definitely very personal.

Peter Bogdanovich is a good friend.