A Quote by Noah Baumbach

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. — © Noah Baumbach
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.
I grew up cinematically in the '70s. I was watching a lot of Godard, Bresson, Dreyer, and all sorts of old films and the Czech New Wave.
The films I grew up loving, and the art that I love, is not generally the kind of postmodern ironic winking stuff. What lasts is the stuff in which the artists are totally in league with the subject.
I never really grew up being political or Labour. It was just a realisation that where you were born mattered. That how you spoke mattered... who you knew mattered.
I grew up in the '80s where there's a lot of these kind of post-apocalyptic, post-comet, post-whatever it was, so that always captured my imagination a lot as a little kid, that idea of getting access to secret places and being able to roam around where you're not supposed to.
I was never that kid who grew up in New York and was always at the arthouse watching important films. I was the kid who grew up in the Midwest where there weren't any art films, and I watched TV. And that was really the medium that affected me and that I fell in love with.
The condition of the United States in the post-postmodern, or post-post-irony period. It's what the country will become when there is nothing left but mediated images of its substance.
I understand that postmodern literature probably means people like DeLillo, The Fiction Collective, but I don't get it that those writers are really influenced by postmodern theorists.
I'm not an '80s fan. I'm more '70s New York pre-punk kind of thing and I guess I grew up with '90s grunge, post-punk pop music.
I'm not an '80s fan. I'm more '70s New York pre-punk kind of thing, and I guess I grew up with '90s grunge, post-punk pop music.
I define science fiction as the art of the possible. Fantasy is the art of the impossible. Science fiction, again, is the history of ideas, and they're always ideas that work themselves out and become real and happen in the world. And fantasy comes along and says, 'We're going to break all the laws of physics.' ... Most people don't realize it, but the series of films which have made more money than any other series of films in the history of the universe is the James Bond series. They're all science fiction, too - romantic, adventurous, frivolous, fantastic science fiction!
When you grow up, some areas of the world are out of your knowledge - especially when I grew up, in the '70s and '80s. Now, you have access to everything, but back then you did not because of the way the media was, and society imposed more directions, structures, and restrictions. It's not like art was prohibited, but art was not something that the people around me presented. So I developed it very much on my own growing up.
I grew up in a small segregated steel town 6o miles outside of Cleveland, my parents grew up in the segregated south. As a family we struggled financially, and I grew up in the '60s and '70s where overt racism ruled the day.
I grew up in a tradition where having ideas and contributing to the community and creating art that had an impact on the world mattered. That's part of the Jewish tradition.
I built up a knowledge of 1960s and '70s British films because my dad used to work nights, and I'd sit up with my mum and watch films - 'How I Won the War' and the films of Richard Lester, Karel Reisz and John Schlesinger.
In America, the new post-postmodern politician is all about authenticity: the daffier you are, the 'realer' you must be. The more you have committed yourself to a ridiculous idea and fevered view, the more worthy you are of attention.
I grew up on the coast of England in the '70s. My dad is white from Cornwall, and my mom is black from Zimbabwe. Even the idea of us as a family was challenging to most people.
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