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Noah Baumbach has been writing and directing films for nearly twenty years now, but you couldn't really say he's in show business. That's because Baumbach is strictly in this profession for art, not money. His six theatrically released features as director have grossed a grand total of .7 million at the domestic box office, which is probably around what Thor: The Dark World grossed before the sun set on its opening day. His commercial impact as writer looks a lot more impressive, but largely on account of the fact that he inexplicably co-wrote Madagascar 3: Europe's Most Wanted in addition to a couple of wide release Wes Anderson films. Baumbach's interest in cinema is as a medium for personal storytelling. Though they have featured movie stars as big as Ben Stiller and Nicole Kidman, his low-budget dramedies have been driven by characters and dialogue, not celebrity or public tastes or anything resembling action or visual effects. Baumbach's grounded human priorities have made him a filmmaker of greater interest to critics than moviegoers and have largely relegated his work to art house designation, with limited releases that slowly roll out to 100 or so metropolitan theaters. Baumbach's latest, Frances Ha, expanded to over 200 theaters in June, a record among his directorial efforts. It also earned him some of the best reviews of his career, with aggregate scores matching those of his Original Screenplay Oscar-nominated The Squid and the Whale and Anderson's stop-motion Fantastic Mr. Fox. It ended up earning a little over million domestically and another M and change overseas. That might not sound like much, but it's a decent haul for a black and white independent film whose biggest name is Greta Gerwig. Gerwig, who got her start in the oft-cited, rarely-celebrated Mumblecore movement that gave rise to the likes of Lynn Shelton and the Duplass Brothers.
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