VENICE — Noah Baumbach isn’t a fan of Netflix’s “skip credits” feature. when he directedmarriage story” When “meyerwitz storyBaumbach pleaded with streaming services not to let viewers move past the closing credits to the next piece of content before the movie technically ended. Still, the 52-year-old director recognizes he may be an old-school outlier in this regard.
“I watch movies with my 12-year-old, and when it’s over, I always like to unzip and look at the credits.” For me, it’s just a character on the screen, but I think, ‘Let’s create a mood with fonts.'”
To make sure the closing credits stay alive, filmmakers now have to make something truly unskippable. This is where Baumbach delivered in spades. At the end of his new film, Venice’s opener White Noise, he delivers a full-blown musical. It’s a number featuring all the cast members, and it’s the first new song from LCD Sound System in five years. It’s a wildly entertaining sequence that dominated the chatter in his first 24 hours of the festival, and like the film itself, it’s a double-edged sword because it shows Baumbach working on a scale he’s never tried before. It’s seriously amazing.
Adapted from Don DeLillo’s 1985 novel White Noise, Adam Driver and Greta Gerwig play married parents Jack and Babette Gladney. 80’s perm. (“She has precious hair,” compliments Don Cheadle as one of Jack’s co-workers.) The couple’s pillow talk involves a morbid argument about who dies first. Meet death in a way that is much closer to home.
The only thing that seems to soothe these neuroses is the local supermarket. This is a shimmering, jumbo-sized temple to consumerism where everything is always in its proper place. It’s not like going, it’s like going to heaven.
This makes it the perfect place to set your end credit number. please do not worry. Sequences are not spoilers. It’s like a coda, “a visual, visceral, physical expression of how I felt about the movie as a whole,” Baumbach said.
Here, nearly every character in the film zips between Hi-C, Doritos, and Ritz Cracker aisles, while Driver and Gerwig pick boxes off shelves with Busby Berkeley-level precision. After that, checkout his area employees toss plastic bags in the air like feathered fans, and the likes of college professors played by Cheadle, Jodie Turner, his Smiths, Andre Benjamin, and others are charming. Boogie in loud fashion.
“When I got to the end of the script, it became clear what I had to do. Finally, I pressed her in the face — it was very easy. ‘Meyerwitz Stories’ is all piano music, and the orchestra comes in at the end.” . I like to listen to those things.
He met LCD Soundsystem frontman James Murphy, who also contributed to Baumbach’s “Greenberg” and “While We’re Young,” and wrote “New Body Rhumba,” an upbeat and catchy song about a series of deaths. created. “Basically, I said I would write a song that he would have written if he had written it in 1985,” Baumbach said.
“For me, it’s not a hard nudge,” Murphy said at the film’s premiere party. I asked. “I try not to die before the song is finished,” Murphy said sharply. (Jack and Babette couldn’t have phrased it better.)
Dance sequence by choreographer David Newman, was shot over two days in an abandoned superstore in Ohio. “I was as happy to actually film it as I was to see it,” said Baumbach. “It was this contagious feeling. and ended up using “Being Alive” from that show as the climactic song. Number of “Marriage Stories” —Even if you make “white noise”, the itch isn’t completely drowned out.
Baumbach, who also used Neumann to choreograph scenes of chaotic family breakfasts and large crowds in the film, said: “I think this whole movie opened me up to aspects of filmmaking that I’ve always been drawn to—things that the movies I’ve made don’t need or want.”
“Barbie certainly has that, and that kind of choreographed naturalism. Well, it’s an artificial world, but it’s choreographed naturalism,” Baumbach told me.
“It’s always exciting to me when a movie can be many things at the same time,” he said.