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| Jennifer Jason Leigh | (3 September 2005 - present) |
Had his script for The Squid and the Whale (2005) hand delivered to Laura Linney by his friend, Eric Stoltz, during the filming of The House of Mirth (2000) in 2000. Linney agreed to do the film immediately but it took four years to raise the financing.
Son of famed Village Voice critic Georgia Brown.
Had been with Jennifer Jason Leigh for four years prior to their marriage.
A native New Yorker.
His father Jonathan Baumbach is a novelist and film critic.
Named among Fade In Magazine's "100 People in Hollywood You Need to Know" in 2005.
Son-in-law of Barbara Turner, who was married to Vic Morrow until his death.
Graduate of Vassar College
Invited to join AMPAS in 2006.
"I always viewed life as material for a movie."
"I grew up in the heat of 70s postmodern fiction and post-Godard films, and there was this idea that what mattered was the theory or meta in art. My film is emotional rather than meta, and that's my rebellion."
"I still carry the residue of the pressure I felt as a child to read and appreciate the right books. Growing up, I never allowed myself to read beach reading. I was always plowing through Ford Madox Ford's "Good Solider" or something I wasn't equipped to understand."
"Somebody could easily go through and link everything to different points in not just my family, but people I know - but I don't even really care. For me, the movie is a protection - a completely reinvented film." [on 'The Squid and The Whale.']
"I don't outline. And when I've done jobs either in television or for a studio, and outlines have been part of the deal, it seems completely artificial to me and, I think, made it harder for me to write the script afterward."
At some point it's going to add up to some sort of strange police blotter sketch if all these things in my films are true. My hope is that I will make enough movies that they can't all conceivably be autobiographical.
I try not to analyze the characters when I'm writing, but I'm very analytical in my life.
Really, as long as they're supportive of the movie and the way I want to make it, the difference between it being a studio or not isn't that great. It's more secure with a studio, but you can also get caught up in more red tape. Suddenly they have to clear everything in the shot; people get anxious.
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