Director Noah Baumbach’s 1995 debut “Kicking and Screaming,” introduced his now trademark sui generis blend of comedy, tragedy, pathos and human insight. Few people write dimensional frailty the way he does, and that has led to deep and personal explorations over the years, from “The Squid and the Whale” to “Greenberg” to “The Meyerowitz Stories” and beyond. Baumbach’s latest film, “Marriage Story,” is a new chapter in this ongoing journey and perhaps the most potent one yet. It tells the story of a marriage through the lens of divorce, but cinematically, Baumbach was presented with an interesting dilemma. How do you find the right engaging visual language to convey a story that is at its core people and lawyers in offices, talking through their own domestic drama? On this episode of “The Call Sheet,” Baumbach discusses that very challenge, from unusual framing choices to a disciplined editing plan and his most ambitious work with an original score yet.
Director Noah Baumbach’s 1995 debut “Kicking and Screaming,” introduced his now trademark sui generis blend of comedy, tragedy, pathos and human insight. Few people write dimensional frailty the way he does, and that has led to deep and personal explorations over the years, from “The Squid and the Whale” to “Greenberg” to “The Meyerowitz Stories” and beyond.
Baumbach’s latest film, “Marriage Story,” is a new chapter in this ongoing journey and perhaps the most potent one yet. It tells the story of a marriage through the lens of divorce, but cinematically, Baumbach was presented with an interesting dilemma. How do you find the right engaging visual language to convey a story that is at its core people and lawyers in offices, talking through their own domestic drama? On this episode of “The Call Sheet,” Baumbach discusses that very challenge, from unusual framing choices to a disciplined editing plan and his most ambitious work with an original score yet.