Adam Driver and Noah Baumbach Talk Marriage Story in the Corner Booth | Netflix


– Hi, I’m Krista Smith and welcome to the Corner Booth. Today, I have joining me, Noah Baumbach and Adam Driver, as the writer and director
of “Marriage Story” and one of the lead actors
in “Marriage Story.” Great to see you guys. – This is the thing, he needs to know that I fought for him. He wanted it until you didn’t! You used me so you could get out of LA. (jazz music) Oh, thank you, missus. What is? What’s this? – It’s a Manila envelope, love. Ooh, can I start over?
– With my name on it. – Ooh. Oh. Jesus. Sorry. You’re served. – The scene in the kitchen
when you get served is one of the best scenes on film. I love that scene. I wanna know about directing
that and acting in that. How much rehearsal,
’cause it’s so physical. It’s actually almost mad-capped in a way. – Yeah. – How much rehearsal went into that before you actually shot it? – It’s all extensively rehearsed
and blocked so that we, so everybody knows exactly
where they’re going. I mean, and we–
– We actually rehearsed it in a different house first.
– Yeah, yeah. Actually we originally
had a different house as Sandra’s house and a different kitchen. And we rehearsed it and
walked the whole thing and then while we were shooting
that house fell through so we had to then transpose
the blocking into a new kitchen in a new house. I mean, it was difficult but it was, I think I justified it as we
were all where Charlie was. He was both in a familiar
place and a not familiar place. So that’s sort of how I justified, “Oh, this will be good for the movie.” (Adam laughing) But it’s all very blocked out and like you say, I thought of that scene on one level like a screwball comedy, like something from the ’30s and ’40s where people, like “His Girl Friday” where people are gonna come in and out. So on one level, it does
have this sort of madcap but then also there’s this
very serious envelope. The other way of looking at
it is almost like a thriller that there’s like a bomb hidden under the table.
– Yeah! – And the audience knows and I love that, if you can find that in a scene where you have these very conflicting genres or emotional content, but then I think when they work together, it could be thrilling and it is, it becomes a high-wire act of sorts that takes these kind
of actors to pull off. – I don’t know, I’m sorry. – I was gonna warn you so
it didn’t become a thing. Sorry. – I feel like I’m in a dream. – I hate to use the word bromance but you’ve worked together four times. – Right. Yeah.
– I just used it, I went for it.
– It’s a bromance. It’s a bromance.
– Because it is a unique situation when a director and an actor
work together over time. And I wanna just talk about what is your collaboration like? What is it like to work with each other? – Like Adam will call me about a movie we, three movies ago, he’ll call me and say like, “I think I know now how to do that scene,” even though as far as I know we can’t go back into “Frances Ha.” (Adam laughing) I guess you can. But I find he’s always thinking about it, and he’s thinking about
things that are long over. He’s thinking about what
we could do in the future. He’s thinking about what
we’re doing at the moment. It’s my favorite way to work ’cause it’s so alive and the characters start
to feel that much more real and that’s why, I only knew three things about this movie. I had some notes, some ideas, and I just, I brought them to Adam. Just even to hear what
he would have to say, his immediate reactions, so that when I’m writing it and thinking of him doing these things, in a way it’s like another way to get deeper into the material. I have what I’m drawing from the world but them I’m also thinking of
Adam and Adam’s physicality. I don’t think I would
have written these scenes, I know I wouldn’t have, had I not had him as a guide both on the phone and sort of in my mind. – Noah as a director is
kind of the whole thing. He’s someone that works on something, how I like to work on something. There’s no detail that is unimportant. I’m not being very specific but it’s ’cause it’s
kind of more of a feeling when you meet someone or you’re, wanna have a bromance with. (Adam chuckling) It just feels familiar in a way that, you kind of dream that that’s
what it’s gonna be like with working with Noah, it is. It would not be a career wasted if we just, if I just found a way to work
on his movies until I die. ♪ Someone to hold you too close ♪ ♪ Someone to hurt you too deep ♪ ♪ Someone to sit in your chair ♪ ♪ To ruin your sleep ♪ ♪ It’s true ♪ – Adam, when you read the script and you got about 3/4 of the way through and you realize you’re gonna have to sing, what were you thinking at that point? – I knew that we were
talking about “Being Alive” being the song for a while, but I didn’t– – The whole movie is just
me reverse-engineering Adam singing “Being Alive.” (laughing) – I was gonna ask, ’cause it was like Noah
figures out a way– – I concocted this whole this divorce so that Adam could sing “Being Alive” at some point in the movie. – And that’s not not true. – I felt like one of my tasks was you have to arrive at this moment and make it satisfying and great, and give it a real reason to be, because when he does it,
it’s gonna be amazing. – What’s great about Noah’s
a writer and director is knowing when to have
people say the thing and then when a song is maybe a better way for these
performers to express that. So I thought it was just
a really great moment in the script. And then separately obviously it’s terrifying ’cause it’s “Being Alive.” It’s Sondheim, it’s
one of the great songs. – What did you learn from
being part of this film, like acting it, doing
it, the course of it? Have you learned anything yourself? And for you, I know it’s deeply personal. Do you come out the other
side with any kind of, I think differently today
than I did a year ago? – Well I see it, I say, what’s gratifying
about showing it to people is I see it reflected back in a way. In talking to people about it, I do feel like kind of more of a shared experience of the movie than maybe I have in the past. – To echo what Noah was
saying, it’s just how, it almost feels like I’m
outside of it at this point. So it almost, it’s beyond any ownership
of any one person to create something that’s
bigger than any one of us, have those conversations that we’ve been having
with people afterwards, it’s like, I don’t know what you can
ask for better than that. Noah created this thing, create space for a dialogue and that’s been really exciting. I guess I’ve learned that that’s rare. (jazz music)

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Comments

  1. Hey Netflix, you feel like maybe putting Borgia back on the site? at least for customers in Ireland who could only watch it through Netflix? considering there's no bu-ray or dvd release past the first season, or other sites hosting it, or tv channels that show it here? Please put Borgia back on Netflix, you were the only option, now there's no option, and your sorta responsible for that given the exclusivity deal you signed with canon+ screwed English speaking countries despite the show being filmed in English.

  2. Wow. Knights of Sidonia is back! I am so hyped! That is still a very good anime to watch to me. Please keep your Netflix in Netflix. I want to see more originals from you guys. If you are bringing other movies from different channels over, please do your best to expand your library so you can fit more t.v. shows and movies in for us to watch. 🙂

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  4. I had heard all the reviews and everyone talked about how it plays with the audience’s allegiance towards the characters…it’s sooooo true. I watched it for the first time and I found myself subconsciously flipping back and forth between what an asshole Charlie was to how much of a bitch Nicole is and then in the end I just wanted to hug both of them…

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