Is White Noise a disaster movie, a family drama, a drugged-out conspiracy thriller or a satirical comedy? The truth is it’s all of the above, and for its writer-director Noah Baumbach, something else altogether – a dystopian delight that represents the biggest left turn of his career so far. Since bursting into the spotlight two decades ago, the New Yorker – famous for movies like Squid and the Whale, Margot at the Wedding and Marriage Story – has become renowned for creating intimate snapshots of American family life. Whether working on his own or collaborating with the likes of his partner Greta Gerwig or Wes Anderson, his movies are typically small in scale but big in emotional depth, delving deep into the interpersonal lives of characters you can’t help but fall in love with.
At least, that’s what used to define a Baumbach movie. White Noise is the sound of an auteur stepping boldly out of his comfort zone. It’s an apocalyptic adaptation of a novel that till now was thought to be unfilmable (Don DeLilo’s revered post-modern classic was full of dense prose, lyrical absurdity and satirical sharp-shooting at American hysteria; not the easiest thing to translate to screen). A lot of the film takes place in a supermarket that’s both a community hub and a cathedral to American consumerism. And a large chunk of the movie involves grand CGI depictions of a toxic cloud engulfing a community who descend into panic and lawlessness. All things far removed from the grounded domesticity of Noah’s normal storytelling.
In the conversation you’re about to hear, Noah talks about why the time was right for such a departure. We discuss the film’s Covid-19 and Trump-era commentary, and his love for hiding in the opening scene of movies an encapsulation of the thematic content to come. You’ll also find out why he made one major change to the novel involving the character Babette, and why White Noise isn’t a cautionary tale – we as a society are already living in the disorientated, misinformation-filled world of this story, he explains. The future is now – both for America, and for Noah Baumbach.
Script Apart is hosted by Al Horner and produced by Kamil Dymek. Follow us on Twitter and Instagram, or email us on thescriptapartpodcast@gmail.com.
Support for this episode comes from ScreenCraft, Arc Studio Pro and WeScreenplay.
To get ad-free episodes and exclusive content, join us on Patreon.
Support the Show.
No One Will Save You With Brian Duffield
The Fall Guy with Drew Pearce
Air with Alex Convery
The Blair Witch Project with Eduardo Sánchez
Stage Apart: The Hills of California with Jez Butterworth
Civil War with Alex Garland
Stage Apart: Stranger Things – The First Shadow with Kate Trefry
Script Club: Children of Men with Carmen Maria Machado (Her Body and Other Parties)
Expats with Lulu Wang
How To Have Sex with Molly Manning Walker
American Fiction with Cord Jefferson
The Holdovers with David Hemingson
All Of Us Strangers with Andrew Haigh
Maestro with Josh Singer
Beau Is Afraid with Ari Aster
Poor Things with Tony McNamara
Society Of The Snow with J.A. Bayona
Toy Story 3 with Michael Arndt
A Murder At The End Of The World with Brit Marling and Zal Batmanglij
Leave The World Behind with Sam Esmail
Create your
podcast in
minutes
It is Free
The Sackhoff Show
Prestige Junkie
Team Deakins
You Can’t Make This Up
Toon’d In! with Jim Cummings