A Quote by Noah Baumbach

Wes Anderson's films, 6-year-olds are crazy about them. — © Noah Baumbach
Wes Anderson's films, 6-year-olds are crazy about them.
It is impossible to maintain civilization with 12-year-olds having babies, with 15-year-olds killing each other, with 17-year-olds dying of AIDS and with 18-year-olds getting diplomas they can't even read.
All my career I have done that, worked with talents, improving 19-year-olds, 20-year-olds, 17-year-olds, 18-year-olds.
My favorite Wes Anderson movie is 'The Darjeeling Limited,' because I have two other brothers, and I just feel that connection so well. All of his films have something so great and unique about them, that I don't know how I would be if I don't like them. I wouldn't be me. My personality is his sensibility.
I love Wes Anderson films, which are quirky and funny.
With 'Stardust', I hope what I was doing is giving 30-year-olds and 40-year-olds and 25-year-olds and 60-year-olds a chance to get the same sense of wonder, the same feeling, the same magic, that they got in reading the classic fairy tales as children.
There should be a certification process to suggest if a particular film is suitable for 12-year-olds, 15-year-olds or 18-year-olds. The same thing I think applies for the Internet.
I want to work with Wes Anderson, Paul Thomas Anderson, the Coen Brothers, or Spike Jonze.
All of Wes Anderson's films are confections, memoirs created in cinematic snow globes, with the subtext that memory is the most extraordinary confection of all.
Wes [Anderson] is brilliant, kind, and just absolutely fantastic. He was really amazing in the way he can just take ideas, turn them into such beautiful stories, and then bring them to life with these amazing films the way he does.
Taking Big Bird away from our five year olds, lunch money away from our ten year olds, job training programs away from our fifteen year olds, and college loans away from our twenty year olds is a disgrace.
There are a few directors as a young person where I was kind of like, 'Well, these are a sure bet.' The Coens, Paul Thomas Anderson, Wes Anderson.
I'm, like, the most insane Wes Anderson fan - his films are pretty much my inner landscapes. I just love him to pieces.
I moved out to L.A. to be a filmmaker or director. I didn't even think about doing comedy or even acting. I wanted to be like Paul Thomas Anderson or Wes Anderson, but I wasn't going to a lot of comedy.
The idea of working with David Fincher or Paul Thomas Anderson or Wes Anderson or Scorsese or Spielberg or any of the guys I really idolize is a dream for me.
I even think the commercial element of new American directors is really fertile right now. There are a lot of filmmakers with very particular visions, like Sofia Coppola and Wes Anderson and P.T. Anderson and Alexander Payne and Peter Sollett and Harmony Korine and Vincent Gallo. At least they're making films that they choose to make, and they're on their own. That's positive to me. This is not a dead period for American cinema at all.
I was this big, heavy kid - nobody was at my weight at that age, so I had to fight 12-year-olds, 13-year-olds when I was seven years old. And what do you know, I was beating them.
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