noah baumbach Tagged Articles at Cinematical

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When you watch Mark Ruffalo act, have you ever thought: "Hey, Ben Stiller would be a good Ruffalo replacement"? No? Me neither.

But it's happening! Back in May, Mark Ruffalo and Amy Adams were set to star in Noah Baumbach's next film, Greenberg.** Now, The Hollywood Reporter posts that Stiller has signed on to replace Ruffalo in the feature. I would assume that this is due to the death of Ruffalo's brother, which has been making news lately, but it could just be a case of a film taking too long to come to fruition. Amy Adams is out as well, and they're currently searching for her replacement.

It certainly seems like Stiller is now trying to balance his goofy Tropic Thunder type fare with something a bit meatier, between this and that earlier Chicago 7 rumor. As I've said before -- I'm all for it. It's about time he went back to more dramatic fare. But who should he traverse the rocky road of relationships with? Any ideas?

*The Hollywood Reporter has since corrected their post -- Ruffalo was never attached, but rather one of the actors interested in the film.
**The title of the film is actually Greenberg, not Greenburg, as THR listed.

They've come a long way -- Mark Ruffalo and Amy Adams. For years, we got lots of Ruffalass as each film Mark took on seemed to have the obligatory bare butt. It got to the point where me and my friends would wait for that inevitable moment. Amy Adams, meanwhile, has come even farther. From 1999-2000 it looked like her path was set after Drop Dead Gorgeous, Psycho Beach Party, and Cruel Intentions 2. Then she got an Oscar nomination and suddenly she wasn't the goofy blonde girl, but rather an actress with one wide-ranging skillset. So, what's next?

The Hollywood Reporter posts that Ruffalo and Adams have signed on to star in Noah Baumbach's (The Squid and the Whale) next feature, called Greenburg. The plot is being kept under wraps, but it's said to be some sort of relationship dramedy that's getting shopped around in Cannes, and is hoping to start production later this year. Greenburg ... Is this a town? A name? Who knows.

Whatever scenario Baumbach has schemed up, it sounds like a great combination to me.

Noah Baumbach's Margot at the Wedding did smashing business at two theaters in Manhattan, earning a per-screen average of $39,800, according to estimates compiled by Leonard Klady at Movie City News. Was it the sparkling dialog, the witty performances, the star wattage of Nicole Kidman, Jennifer Jason Leigh and Jack Black? The critics were mixed: our own Ryan Stewart opined that the film was "torpedoed by its own self-indulgence." A. O. Scott of the New York Times was kinder ("frequently brilliant, finally baffling") and Lou Lumenick of the New York Post was not ("I've had root canals that were more enjoyable"). Check Metacritic for more critical coverage.

Opening in a single Manhattan theater, What Would Jesus Buy? performed quite nicely according to Box Office Mojo, making $11,600. Personally, I thought Rob VanAlkemade's documentary was timely and entertaining, although quite scatter-shot in its approach.

Opening in a single Los Angeles theater, Smiley Face earned an estimated $5,700 over the weekend, according to Mr. Klady. Distributor First Look has been criticized for changing their plans from a wider release last April; filmmaker Sujewa Ekanayake comments: "It is sad to see a film that screened at 4 incredibly well known festivals [Sundance, SXSW, Cannes, Toronto] being released in only 1 theater." Amen! Both Jette Kernion and Monika Bartyzel reacted positively to Gregg Araki's stoner comedy starring Anna Faris; the movie hits DVD in January.

Redacted ($1,760 per screen; 13 theaters) and Southland Tales ($1,780 per screen; 63 theaters) appeared to fall victim to bad buzz. Everyone kept saying that no one would want to go see Brian DePalma's Iraq War project and it became a self-fulfilling prophecy. Critical response was lukewarm overall, though a number championed it, according to Rotten Tomatoes. (Ryan Stewart felt it "doesn't ever truly gel.") The same site estimated that only 34% of the Southland Tales reviews were positive; its champions are fewer but no less appreciative -- but not Nick Schager, who called it "monumentally vapid."

The Coen Brothers' No Country for Old Men expanded into 148 theaters and soared into the overall Top 10, scoring a scorching per-theater average of $20,540.

Writer-director Noah Baumbach's Margot at the Wedding, his follow-up to his Oscar-nominated The Squid and the Whale, portrays the friendship -- and friction -- between sisters Margot (Nicole Kidman) and Pauline (Jennifer Jason Leigh). Pauline, mother to Ingrid (Flora Cross), is marrying her boyfriend Malcolm (Jack Black) -- and Margot comes to lend her support for the big day, bringing her son Claude (Zane Pais) along. But the sisters aren't really the best friends they claim to be, and the Pauline's coastal home soon seethes with judgments and resentments and secrets. And yet, according to Leigh, the tension on-screen wasn't on-set: "It was a pretty happy set, actually -- and also the scenes are exciting; it was exciting to have scenes with this much going on them. So you never went home bummed out; they were exciting and really good scenes, and the tension was alive. ..." Of course, Leigh also had the fairly unique experience of working with her husband as her writer-director. ... Leigh spoke with Cinematical in San Francisco about working with the people you love, what happened when the cameras were off, which of her movies she doesn't flip past when they come up as she channel-surfs and the sort of movie she considers a "crowd pleaser."

Cinematical: To start with a fairly obvious question, is it easier or harder when at the end of the day's shooting, you're going home with the director? Does that make your job as an actor easier, or more difficult?

Jennifer Jason Leigh: A lot easier -- because of our relationship, too, but it was a lot easier. Because not only can you talk about the day, but you can talk about the next days to come, and what you want from the scenes and what you're striving for -- and also you have the person you love most with you through it all, so you get to have this great creative collaboration doing something you love together and be together. For me, it made it easier. Also, if there was a scene I wanted a little extra rehearsal on, I could get it at home.

Cinematical: You had unlimited access to the writer.

JJL: Writer, director, yeah. "Could we work on that scene. Could I rehearse with you?"

Cinematical: What was it like working in these very intimate dramatic scenes with Jack Black -- who people don't automatically think of as an actor, who people think of more as a presence, or a comic actor. Did you do a lot of preparation, or did he just show up bringing his "A" game?

JJL: We did rehearse; we all rehearsed. Jack was Noah's first choice, and Jack's someone I've always wanted to work with, and I've known Jack a really long time, so I knew he could be great. I just think he's a wonderful actor, so ... he would always joke about having his "A" game on, and all that, but ... he's just so good. There was never a doubt in my mind. And I knew we'd have good chemistry, because we're friends, and I just enjoy him anyway. It's always nice to work with people you know and like, just because you already have that history - and it shows, in a way, and you can feel it on the screen a lot of the time, I think. He's a wonderful actor; everything you would hope he'd be, he is. He's warm, he's available; he's funny, he's smart as hell ... he's lovely.

Fox411's Roger Friedman is reporting that Julia Roberts could be joining Nicole Kidman in the romantic comedy, Monte Carlo. Fox spoke with Kidman during the NYFF premiere for Margot at the Wedding (read Ryan's review here) when the actress confirmed Roberts involvement. Monte Carlo centers on three schoolteachers that pose as socialites in the glamorous city to snag a rich husband. Kidman signed on for the project back in July with The Family Stone director, Tom Bezucha, who is also co-writing the script with Maria Maggenti. The story is based on the novel Headhunters by Jules Bass and the movie was inspired by the Marilyn Monroe classic, How To Marry a Millionaire.

Roberts has relatively absent from the screens for the last few years, with only the odd role here and there, but she appears to be returning to work full time. The gal will next appear in the political drama Charlie Wilson's War, followed by the dramatic weepy, Fireflies in the Garden. Last but not least, she has just signed for another romantic role in the Friday Night Knitting Club with actor and writer Mike Binder (Reign Over Me). Kidman is busy back at work on Baz Luhrmann's epic, Australia, as well as the period drama, The Reader with Ralph Fiennes. So in spite of some rather low blows in the press, Kidman has no shortage of work, and has already lined up the drama, Need, with long-time friend Naomi Watts. Although, judging from Kidman's past attempts with comedy, she could probably use the help from a veteran like Roberts.

There are many iconic pairings of actor and director: DeNiro and Scorsese; Bogart and Huston; Mifune and Kurosawa; Depp and Burton. One of the best recurring collaborations, though, is Bill Murray and Wes Anderson. The comedic actor appears in almost all of Anderson's movies (maybe one day he can be digitally imposed into Bottle Rocket a la Jabba in Star Wars), including The Darjeeling Limited, which opens tomorrow. I haven't seen the new movie yet, but I did read a great piece about Anderson in this week's New York magazine, and I have to say that Murray and Anderson were made for each other. Whether it is true or not that the filmmaker really had to deliver a suitcase with $14,000 in cash from Murray to a guy named Luigi is beside the point; the story just proves the duo have a fun sense of humor that can involve the other at any given time.

That's why it isn't surprising to learn that Murray will be voicing a character in Anderson's stop-motion-animated film, The Fantastic Mr. Fox (and I don't mean because Murray would avail his voice to anything). MTV Movies Blog chatted with Anderson about the film, which is still a few years in the making, and got other confirmations on its cast of voices. Yes, George Clooney is definitely on board as "Mr. Fox", and also Jason Schwartzman is doing a voice, too. There is no mention, however, of Cate Blanchett or Angelica Huston, both of whom are said to be part of the film. It also wasn't revealed which characters Murray and Schwartzman would be doing. The Fantastic Mr. Fox will be Murray and Anderson's fifth movie together (and Schwartzman's fourth with the director, if you count shorts), and will likely be far from the last. The film also reunites Anderson with his Life Aquatic co-writer Noah Baumbach; the script is based on the book by Roald Dahl.

Noah Baumbach's The Squid and the Whale, a semi-autobiographical film about a Brooklyn family's experience with divorce, was the sleeper indie hit of 2005, and after its success Baumbach shot to prominence as a director to watch. His highly anticipated follow-up effort, Margot at the Wedding, returns to similar themes of family love and loathing; it stars Nicole Kidman as Margot, a high-strung writer who, along with her son Claude (Zane Pais), goes on a pilgrimage of sorts to her childhood home, where her estranged sister (Baumbach's wife Jennifer Jason Leigh) is marrying an unemployed painter (Jack Black) she just met. Baumbach -- who, it must be noted, bears an uncanny resemblance to Adrien Brody -- sat down with us in Toronto to talk about New York, family dynamics and just what's up with all those masturbation scenes.

Cinematical: After Squid and the Whale, a lot of people looked at you as a Brooklyn artist, the way they might look at someone like Jonathan Lethem. Did you have any temptation to make another movie set in Brooklyn, or did you deliberately move away from that?

Noah Baumbach: It wasn't deliberate or not deliberate -- I started writing this movie and it became what it was. It wasn't a response to anything in particular. I feel a real connection to Brooklyn, certainly, because I spent 20 years of my life there, but I don't think of myself as a Brooklyn artist any more than I think of myself as a male artist. I will say that when people would respond to Squid with a kind of Brooklyn-centric reaction I was pleased with that, because obviously Brooklyn means a lot to me.

Margot at the Wedding is a film torpedoed by its own self-indulgence. The film starts by offering us a thin premise -- a frosty, New England writer named Margot comes to town for the occasion of her quasi-bohemian sister Pauline's wedding to a slob -- and then more or less does nothing in the way of development, opting instead for ninety minutes of hints and innuendo. Nothing in this family dysfunction drama ever rises to the surface, even in the third act. Usually, you at least know what the director was going for, whether they succeeded or failed, but not here. Nicole Kidman and Jennifer Jason Leigh have to be given some amount of credit for doing the requisite character-building work, playing past the obvious physical dissimilarities between them and creating a workable, sisterly dynamic that can go from warm to freezing in an instant, but there's so little in the way of compelling events for them to react to that it's almost hard to maintain interest. Margot at the Wedding is a ninety minute film, with about twenty minutes worth of content.

Jack Black is the third lead as Malcolm, Pauline's soon-to-be-husband who has no job and no ambition to do anything except possibly commit infidelity. It's hard to say whether Noah Baumbach hired Black to play a thinly-disguised version of himself or whether he intended to have him do heavy lifting, acting-wise, because there's an odd mixture of both on display. There are moments when he's simply playing his part with none of his usual verbal or physical affectations, and there are other moments, such as in a late scene where he's supposed to be doing some crying, when he's unwisely allowed to lapse into a light version of Jack Black schtick. Both incarnations of his character seem to be a noticeably bad match for Jennifer Jason Leigh, by the way. Her natural gravitas doesn't mesh well with his absurdist persona, and whenever they are together on screen, there's a palpable sense of 'acting' going on that undermines Jason Leigh's seemingly honest attempts at character development. Theirs is just one of several of the film's actor pairings that don't seem very natural.

I miss many things about living in New York -- the people, the restaurants and bars, Central Park, the smell of baked ass that overtakes the city this time of year (OK, not that last one). But what I miss the most has got to be the film "scene." Getting a coffee and taking the subway to a movie on a Sunday morning always filled me with happiness. NYC also puts on one of the best film festivals in the country -- the cleverly named New York Film Festival. Showcasing 28 films, the fest will be held this year at Frederick P. Rose Hall in the Time Warner Center. Screenings are set for September 28 through October 14th, and this year's lineup is a real doozy. It includes new films from Sidney Lumet (Before the Devil Knows You're Dead, with Ethan Hawke and Philip Seymour Hoffman), Catherine Breillat (The Last Mistress, just grabbed by IFC), Todd Haynes (I'm Not There, his Bob Dylan movie), Abel Ferrara (the promisingly titled Go-Go Tales, starring Willem Dafoe), Noah Baumbach (following up the excellent Squid and the Whale with Margot at the Wedding), the ascotted Peter Bogdanovich (profiling one of my favorite bands with Tom Petty and the Heartbreakers: Runnin' Down a Dream), and Brian DePalma (an Iraq war drama called Redacted).

Wes Anderson's new film (can't wait!) The Darjeeling Limited will open the NYFF. The Coen Brothers' new one No Country for Old Men (really really can't wait!) will be the "centerpiece" of the festival. And Cannes '07 jury prize-winner Persepolis, an "animated coming-of-age" story directed by Marjane Satrapi and Vincent Paronnaud, will close the fest. Also showcased will be Cannes favorites like Gus Van Sant's Paranoid Park, Julian Schnabel's French-language The Diving Bell and the Butterfly, and Palme d'Or winner 4 Months, 3 Weeks and 2 Days. In addition, there will be five classic films screened, including John Ford's first major film -- The Iron Horse. Probably the most anticipated of that bunch is Ridley Scott's "definitive cut" of Blade Runner, in honor of that film's 25th anniversary. An evening called "The Technicolor Show" should be a major attraction, as it's introduced by Martin Scorsese. Head over to Yahoo Movies for the full roster.

Opie Taylor, director, is quite busy these days. He's into pre-production on Frost/Nixon, and as Variety reports, there's also Colossus: The Forbin Project, a remake of the French thriller Cache and Angels and Demons -- a prequel to The Da Vinci Code. Ron Howard is now adding another to the mix -- an adaptation of Claire Messud's 2006 novel, The Emperor's Children. Erik Davis first told you about the project in January, before Howard officially signed on. As Erik noted, it's about those on the Upper West Side of NYC -- slightly older Cruel Intentions sort of people, or as The New Yorker calls them "New York's chattering classes." Basically, it seems like Whit Stillman territory if his protagonists hit 30.

So now Howard is definitely directing, and a script has been written by none other than Noah Baumbach. Most recently, he penned The Squid and the Whale, which he also directed, but he's also the words behind one of my favorite quirk fests -- The Life Aquatic with Steve Zissou. Obviously, with Howard blanketed by projects up to his ears, there's no word when this project will get off the ground, so I wouldn't be surprised if it is at least a year before he gets Children into production. I'm curious to see what he'd do with this. If we were talking Stillman, the chatter would flow and the pretension would be entertaining. But I can't imagine what Opie will make of this world.