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      <title>Comments On: Baumbach and Anderson: A Discussion Prompt
    
      by Paul D&apos;Agostino</title>
      <link>http://www.thelmagazine.com/TheMeasure/archives/2010/03/24/baumbach-and-anderson-a-discussion-prompt</link>
      <atom:link href="http://www.thelmagazine.com/newyork/Rss.xml?oid=1573025&amp;id=comments" rel="self" type="application/rss+xml" />      <description>Comments On: Baumbach and Anderson: A Discussion Prompt
    
      by Paul D&apos;Agostino</description>
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      <pubDate>Sat, 25 May 2013 00:00:01 -0400</pubDate>
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    <title><![CDATA[Re: Baumbach and Anderson: A Discussion Prompt]]></title>

    
    <link><![CDATA[http://www.thelmagazine.com/TheMeasure/archives/2010/03/24/baumbach-and-anderson-a-discussion-prompt/#1576751]]></link>

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    <author><![CDATA[Paul D'Agostino]]></author>
    <description>
      
      <![CDATA[Thanks to you both for your thoughts. Notes have been dutifully taken.<br>
<br>
I offer yet another parallel that could be explored similarly: tennis as metaphor, or at least as narrative element, in The Royal Tenenbaums and Squid and the Whale.
        
        <br />
        Posted by 
        
          <a href="http://www.thelmagazine.com/newyork/Profile?oid=1151462">Paul D'Agostino</a>]]>
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    <pubDate>Sun, 28 Mar 2010 19:11:54 -0400</pubDate>
    <source url="http://www.thelmagazine.com">The L Magazine</source>
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    <title><![CDATA[Re: Baumbach and Anderson: A Discussion Prompt]]></title>

    
    <link><![CDATA[http://www.thelmagazine.com/TheMeasure/archives/2010/03/24/baumbach-and-anderson-a-discussion-prompt/#1573107]]></link>

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    <author><![CDATA[jesse]]></author>
    <description>
      
      <![CDATA[This isn't really the question you're asking, but I'm not so sure I see a lot of stylistic overlap between Baumbach and Anderson. Baumbach seems a little more restless with his aesthetic, while Anderson comes off more like he has a technique he loves, and tries to tinker with it and perfect it via logistical challenges (the not-quite-NYC of Tenenbaums; shooting on the water in Life Aquatic, or a train in Darjeeling; and finally stop-motion animation in Fantastic Mr. Fox).
        
        <br />
        Posted by 
        
          <a href="http://www.thelmagazine.com/newyork/Profile?oid=1183624">jesse</a>]]>
    </description>
    <pubDate>Wed, 24 Mar 2010 18:07:52 -0400</pubDate>
    <source url="http://www.thelmagazine.com">The L Magazine</source>
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    <title><![CDATA[Re: Baumbach and Anderson: A Discussion Prompt]]></title>

    
    <link><![CDATA[http://www.thelmagazine.com/TheMeasure/archives/2010/03/24/baumbach-and-anderson-a-discussion-prompt/#1573068]]></link>

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    <author><![CDATA[Mark Asch]]></author>
    <description>
      
      <![CDATA[Well, both filmmakers have taken as their subject the often difficult relationship between (self-considered or objectively) exceptional/sensitive/creative people and the real world. (For this reason, they make sense as collaborators.)<br>
<br>
Whether their characters are writers (as they frequently are for both filmmakers) or musicians, or sportsmen, or poultry thieves, Anderson and Baumbach seem interested in their sort of privileged separateness from the world, and its implications.<br>
<br>
As for the respective gentleness and savagery with which Anderson and Baumbach question the basis and justification for their characters' sensitivity, I'm quite sure I don't care to search for motivation.
        
        <br />
        Posted by 
        
          <a href="http://www.thelmagazine.com/newyork/Profile?oid=1151003">Mark Asch</a>]]>
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    <pubDate>Wed, 24 Mar 2010 16:31:58 -0400</pubDate>
    <source url="http://www.thelmagazine.com">The L Magazine</source>
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