A Quote by Noah Baumbach

I always viewed life as material for a movie. — © Noah Baumbach
I always viewed life as material for a movie.
I don't think that Slaughterhouse-Five was successful movie material. In fact, Vonnegut's books mostly I don't feel are movie material.
It's very eclectic, the way one chooses subjects in the movie business, especially in the commercial movie business. You need to develop material yourself or material is presented to you as an assignment to direct.
History viewed from the inside is always a dark, digestive mess, far different from the easily recognizable cow viewed from afar by historians.
The movie was always something that was always kind of like a dream. From the start of making my YouTube videos, I've always been sharing my thoughts or opinions or just updating people on my life, but the movie is more of a behind-the-scenes look at what actually goes into my life.
'2001: A Space Odyssey' is a movie that really impressed me as a teenager. And also 'Blade Runner.' And 'Close Encounters of the Third Kind' is also one of my favorites. I'm always looking for sci-fi material, and it's difficult to find original and strong material that's not just about weaponry.
I viewed it as a business, but I always viewed it as a game. An opportunity to show my skills, my basketball skills, amongst the best in the world.
The thing about Wagner is we're always wrong about him, because he always embraces opposites. There are things in his operas which viewed one way are naturalistic, and viewed another way are symbolic, but the problem is you can't represent both views on stage at once.
I'd always hoped to write the story as a novel, but there was a long period when the [Bridget Jones's Baby: The Diaries] movie was stalled and in confusion. I felt frustrated creatively, and just couldn't work on the Baby material till the movie was sorted out.
You never want to have a movie be derivative, because that's the worst if you ask me. I always want to be in original material, or an original idea, or an original vision, rather than a rehash of some other movie.
The reasons you have for doing a movie will vary with the way your life is going. There was a time when a made a some movies because I felt I needed to work. And I didn't think about the material as much. But sometimes I've thought about the material a lot and thought I was doing the right thing, and it didn't work out.
A Company should be viewed as an unfolding movie, not as a still photograph
I found that the quality of TV material that came to me was so great and was just often better than the film material I got. And when I find a good movie that I really like, I jump on it because it's exciting to do.
Marketing does have a lot to do with the success of a film. But even more so, and especially since home video, I've learned that a movie has a life of its own. A movie goes out there, and it exists, and it continues. I'm always fascinated by what movie people bring up when they approach me.
I trust my work. It's a collaboration with the material, and when it's viewed, it's a collaboration with the world.
Time was something that largely happened to other people; he viewed it in the same way that people on the shore viewed the sea. It was big and it was out there, and sometimes it was an invigorating thing to dip a toe into, but you couldn't live in it all the time. Besides, it always made his skin wrinkle.
Unlike life, a work of art never gets taken for granted: it is always viewed against its precursors and predecessors.
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