Top 50 Quotes & Sayings by Jeff Baena

I like collaborating with actors. I love finding that moment where it all comes together.

I remember when I was in film school. It was my second year, and some kid did - had this really over-religious symbolism; like, it said 'John 3:16' and had angels falling over, and it was just this insane - it wasn't that great.

'Motherwort.' 'Great Leopard's Bane.' These are awesome band names.

I think one of the bigger issues with modern-day people is that we don't give enough credit to people from history as being real. We almost treat them as these rarified beings that didn't exist the way that we do with emotions and urges and drives.

I know, when I was in film school, some of my films were silly, but a lot of them were more dramatic. I don't think I intentionally set out to do comedy stuff. I guess that's a consequence of coming up working with David O. Russell and skewing toward those sensibilities.

For me, the whole idea of performance is not being self-aware, and then sort of just experiencing.

Zombies sort of typify this ambiguity, that they're not dead and not alive.

You can't avoid being an egotistical person and ultimately somewhat narcissistic. You can try to curb it by recognizing that behavior. But at the same time, your repetitive behavior has its own psychology, and it's impossible to get out of that.

When you are a writer, the assist-to-turnover ratio... there are a lot more turnovers than assists.

I went to film school; I went to NYU film school.

It's life, so you're a constant evolution of tragedies and achievements and ups and downs. You can probably get a little bit more immune to things, but whatever is the most amount of pain you feel at any given moment feels like the most amount of pain you'll ever feel.

After doing 'Life After Beth,' which I think had one line that wasn't scripted, everything was scripted so that it sounds natural, and I went to such great lengths to create dialogue and to come across the way that people wouldn't sound like they were on the nose.

People were always like, 'Oh my God, you're going to be working with your girlfriend? Are you freaking out? Is that going to, like, destroy your relationship?' I think it emboldened the relationship.

I always knew I wanted to make movies since I was around eleven. I never thought of it as wanting to do straight-up comedy. Even now, I don't see things in terms of genre.

In Judaism, the temple was the most holy site in the world. But if you extend that argument as a metaphor, and you say 'The world is a holy place,' and you're treating this holy place like a money-lending psycho, then Jesus says, 'This is hypocrisy!' and he'd point it out and flip it over.

I was reading a lot of Jacques Derrida at the time, writing 'Beth.' He actually talked about zombies.

It's so rare when marketing and press doesn't ruin your movie.

If it feels like you're aiming for something too familiar, and you're not having a primary new experience, then what's the point of making that movie? It's been done before, so try to find something new out of it.

I've been a writer for years, but it was mainly as a function of trying to be a director, so I just got work as a writer. I want to keep directing.

One of the interesting things about the 'Decameron' itself was it was written in the Florentine dialect as opposed to the Latin vernacular - and that was mainly to have it be a piece of literature for the people as supposed to some kind of highfalutin' canon.

I don't like the idea of seeing a movie and it feels comfortable because you've heard it before.

I hate when people eat food and talk with their mouth full. I always cover my mouth when I eat, but I've had it where there's little bologna bits flying on your food.

If you look at zombie movies throughout history, they're always making adjustments. Even the idea of the virus zombies and the back-from-the-dead zombies... there's been tons of tweaks.

In my mind, if you went back to the Middle Ages, in Italy they'd be speaking Middle Age Italian. And at that point, it would obviously be indecipherable for us, but for the people of that time, it was just normal talking.

I think there are a lot of actors who are excellent at cold reads, and they go to an audition, and they read the part and nail it, but then when it comes to the performance, they don't have something.

You show a movie to your friends when you're working on it, but you don't have any real objectivity. You just don't know. So that moment when it's shown for the very first time at Sundance, it's just terrifying. I'm so anxious. And then every screening is different.

When people are committed to things, and the world view they have is no longer in alignment with our world view, then it becomes funny.

Having been through breakups when you get back with the person thinking it's going to work the second time - it never does.

I try to keep everything under wraps. Everything I can do to make sure people don't know what they're getting themselves into, I will do it.

I don't try to make actors play crazy characters. I like where there's a certain element of who they are and truth to their performances.

I wanted to do something a little bit more feminine after my second movie, 'Joshy,' which was so masculine.

Not to be negative, but I think the biggest lesson is don't trust anyone.

I'm just trying to get an exposure and make my day.

I grew up in suburbia, so it's a world I'm familiar with... but in my experience, all the families that I grew up thinking were the perfect families who kept it together... all their secrets would come out, and it'd be something dark and disgusting beneath the surface, so I wanted to exploit that.

Comedy is all about rhythm and context, and there's all types of comedies, and it's about finding that right brand, that consistency in tone.

Aubrey Plaza is absolutely amazing.

Everything kind of has a message in it.

I usually just do, like, studio jobs, re-writes and stuff.

If something's really selfless, then there's really no value in it for you... there's only value in it for the world.

My pet peeve is when people criticize things when they're just trying to have a conversation.

My first job after graduating was working with Robert Zemeckis. I got a job a week after graduating and moving to L.A. So I got to work on 'What Lies Beneath' and 'Castaway' as a PA, which is basically like a gopher.

When you have new people coming in and you sort of want to show them the ropes, it's always easier to have people that know the process and are able to sort of just do their thing, and then everyone can kind of follow their lead.

I don't know if it's because my sensitivity is through the roof, but I can't stand contrived dialogue anymore.

For us, when we think about the Middle Ages, it's sort of this rarefied, distant time that we have no connection to, especially if you grew up in America.

I've always maintained that people that are funny and smart can do anything in film.

I am interested in all aspects of filmmaking, so I have an opinion on every aspect, so sound design, score, cinematography, editing - all that stuff I have experience doing myself, so I had a very strong idea of what I wanted, and I got, for the most part, people that were able to articulate that idea, which was nice.

I had an approach where everything that's happening it should be as though it's an experience for somebody. So if you're experiencing a hurricane, if you're experiencing a car crash or whatever it is, you're only experiencing as yourself, you're not experiencing it from some objective point of view.

If you're playing things sincere in a really absurd, heightened situation, you'll achieve comedy as opposed to just saying funny lines and one-liners and stuff.

My intention was always to direct and writing things just became convenient and happened.

When you are a writer the assist-to-turnover ratio...there are a lot more turnovers than assists. It's just the nature of the beast.