His filmography reads like a rogues’ gallery of legendary filmmakers with whom he has collaborated. He has worked under the wings of Clint Eastwood and has connections to Steven Spielberg, the Coen brothers, Martin Scorsese, Steven Soderbergh, Terry Gilliam, Carax, Ridley Scott — twice — and Jim Jarmusch, among others. Noah Baumbach has appeared multiple times, with a count reaching five collaborations. Recently, he shot Francis Ford Coppola’s new project, Megalopolis. The film, which has its premiere in Spain, marks his first collaboration with Michael Mann: Ferrari. The narrative follows three months in 1957 when Enzo Ferrari faces personal and professional turmoil, including marital strain, the death of a son, the looming risk of bankruptcy, and a sense of responsibility that shadows his life. It also recounts a difficult moment in the racing world, a tragedy that claimed eleven lives.
The Ferrari project stands as a tense intersection of art and industry. The brand itself is famous worldwide, but the interview probes how deeply viewers really know the man behind it all before the screen lights up with his life.
Reflecting on the source of fascination, the subject explains that early exposures to Ferrari were personal and cinematic. A childhood memory of a striking white Ferrari Testarossa in a popular TV show left a lasting imprint. The image became a symbol of artistry on wheels, different from the everyday cars most people encounter. That memory helps illuminate what Ferrari represents to many: machines that embody beauty and power, crafted to be driven rather than merely admired.
The conversation turns to the actor’s approach when portraying historical figures. The actor notes the risk that performance can drift into imitation if too much emphasis is placed on physical likeness. During the shooting of Ferrari, he spent hours each day in makeup and then hours removing it, a routine designed to preserve the human core of the character rather than let prosthetics steal the spotlight. The central challenge was to prevent cosmetics from overwhelming the narrative and overshadowing the person at the heart of the story.
One question explores whether a reserved, introspective personality is harder to portray than a character who is openly expressive. The actor honestly shares that the process is more enigmatic than it seems. On set, a person can feel intensely observed yet profoundly alone. Even when a scene suggests total commitment, internal dynamics may remain unseen by the audience, while the filmmaking team carries the weight of interpretation behind the scenes. That tension is part of what drives the performance forward in the film, underscoring the humanity beyond any public persona.
Truman Capote and the social milieu of Milanese circles
The discussion shifts toward public perception and its lasting impact on an artist. Is fame a nuisance? The actor acknowledges that constant scrutiny can be maddening because it creates a sense of losing control as a performer. Yet the movie will endure beyond the shoot, anchoring the actor in a lifetime of association with the character. The director and the actor share a clear sense of purpose: alignment with the vision. They are both perfectionists who set high standards and can become frustrated when those standards are not met. This shared temperament is described as a mutual influence that shapes the work environment on set.
The topic then turns to the risk of perfectionism producing dissatisfaction. The actor admits there are days when effort feels futile and a sense of failure looms. Maintaining inner peace becomes essential to keep insecurity from consuming the focus. Acting, as he puts it, is a calling that defines much of his life and his family’s life, a devotion that extends beyond professional obligations into personal identity.
Another question asks whether the actor still watches his own films. He reveals a shift over the years: early in his career, watching himself felt unbearable. Over time, he has come to view revisiting his work as a sign of respect for everyone involved. With age, his priorities have shifted, and he values what truth the performances reveal over the illusion of perfection on screen.
When asked how success influences these changes, he emphasizes the responsibilities that come with being the focal point of a production. Keeping morale high, easing tensions, and fostering a collaborative atmosphere are part of leadership on set. He notes that a harmonious crew can only thrive when the central figure believes in the process and maintains a calm, steady presence rather than retreating when the pace slows.
A final reflection touches on cross-cultural casting and the trend of using American actors to portray iconic Italian figures. In portraying Enzo Ferrari, the actor acknowledges a heightened sense of responsibility that comes with representing a culture different from his own. He cites budget realities as a practical constraint in the industry, where commercial viability often determines which projects go forward. The balance between respecting the source culture and meeting financial demands remains a delicate but necessary discipline in modern filmmaking. [Citation: Industry interview, 2024]