NEW YORK (AP) โ The Pulitzer Prize-winning playwright Annie Baker has been hailed as one of the preeminent voices of her generation, but the movies have long lingered in her mind and in her work.
In her play, โThe Flick,โ a trio of workers clean up between showings at a smalltown arthouse theater. In โThe Antipodes,โ a writers room brainstorming session grows increasingly abstract but has the conference-room shape and mostly male composition of a Hollywood pitch meeting.
Now, Baker, 43, has made a film. Itโs a first-time feature but, thrillingly, the evident product of a masterful dramatic veteran. For Baker, itโs less a new beginning than the realization of a long deferred dream. When Baker moved to New York to attend college, she did it, she says, โto be as near as many movie theaters as possible.โ

She nearly applied to film school but opted instead to study dramatic writing. Her career as a playwright took off. Her first play, โBody Awareness,โ won an Obie Award in 2009, as did her follow-up, โThe Aliens." Baker adapted โUncle Vanyaโ in 2012 and, in 2014, won the Pulitzer for โThe Flick.โ In 2017, she was named a MacArthur Fellow.
Occasionally, Baker tried her hand at screenwriting. But being a celebrated American playwright tends to be a full-time gig. Movies faded as a possibility.
โI decided around 38 or 39 that it was never going to happen and I was going to be OK with it,โ Baker said in a recent interview over lunch at the Chelsea Hotel in Manhattan. โI remember saying it out loud to someone. I think I said: โIโm just not going to get to direct a movie in this life.โโ
But almost as soon as Baker made that pronouncement, fate intervened. On Friday, A24 will release Baker's debut, โJanet Planet,โ about a single mother named Janet (Julianne Nicholson) living in 1990s Western Massachusetts with her 11-year-old daughter, Lacy (Zoe Ziegler).

โItโs been a lesson throughout my whole career. You just have to let go of ambition and start working from another place inside of yourself,โ Baker says. โI do wonder if saying it out loud enabled me to do it.โ
โJanet Planetโ is a cinematic experience as precisely attuned to daily rhythms as Bakerโs stage work is. The filmโs perspective is largely from that of Lacy, whose watchful eyes follow a string of her mother's relationships as they pass through their home. As in Bakerโs plays, little may be appearing to happen but the sense that something profound is transpiring under the surface is palpable. In an unspoken coming of age, Lacy begins to see her mom less as a lofty parental figure and more as a regular person.
โI donโt have nostalgia for that time period. I find it aesthetically interesting, but I donโt have a romantic take on it,โ says Baker. โI feel like the movie has a lot of mild dread in it.โ
โJanet Planetโ isnโt strictly autobiographical but it draws heavily from Bakerโs own childhood growing up with her divorced mother in Amherst. Bakerโs film, shot in Western Massachusetts, is also authentically woodsy. Just as several of her plays โ including the Vermont-set โBody Awarenessโ โ have sought to capture quotidian lives and subtle social shifts in smalltown New England, Baker resolved that she would make โJanet Planetโ in rural Massachusetts โ or she wouldnโt make it, at all.

Drawing such a line, when itโs typically cheaper to shoot closer to New York City, can be risky. But just as Baker writes plays with specific actors in mind, like Matthew Maher for โThe Flick," she figured she would do the same for movie locations.
โItโs scary when youโre making your first movie to be like, โNo,โ because the movie might not happen if you say no too much,โ says Baker. โNow when you see the movie, you know you couldnโt shoot that in Mamaroneck.โ
For Nicholson, the location and subject matter of โJanet Planetโ was eerily close to home, too. From the ages of 7 to 11, she lived in nearby Montague. She was a camp counselor in Goshen.
โThe whole summer blew my mind,โ says Nicholson. โI canโt even go too deep into because Iโll literally burst into tears. It just felt so huge at every turn to be walking these places that were so formative.โ

Nicholson, who brings her typically radiant naturalism to the role, found herself thinking less about her mother, a herbalist, than some of the other women in her motherโs life.
โThere were people in that world much more lonely or seeking meaning, connection,โ says Nicholson. โI remember even as a kid recognizing people who felt lost. And Janet feels a little bit lost.โ
In her plays, Baker is renown for exquisite stillness and artfully timed pauses, a sensibility that's earned her comparisons to Pinter and Chekhov. The script to her play โThe Aliensโ opens with explicit instructions on the length of silences. โAt least a third โ if not half โ of this play is silence," she wrote.
Part of the excitement of โJanet Planetโ is seeing how Bakerโs keen sense of time and rhythm gets applied in a new medium. Baker holds some shots long. To capture the nature sounds around the house they were filming in, Baker and her sound designer kept a microphone recording nonstop for two straight weeks. Nicholson says that stillness and in-between moments were encouraged, but โthere isnโt a word or bit of punctuation in the movie that wasnโt in the script.โ

โIโm going to make theater for the rest of my life. I love both forms equally and never want to stop making both of them,โ says Baker. โOnce you really get your hands in both mediums, you can really feel palpably how different they are. Itโs not an intellectual thing anymore. Directing a movie made me really excited to write my next play.โ
Itโs clear speaking to Baker, a passionate cinephile who drew inspiration for โJanet Planetโ from the films of Maurice Pialat and Apichatpong Weerasethakul, that sheโs galvanized from her first hands-on exploration of a new medium, and eager to go further.
Not that there werenโt challenges. The relentless demands of directing a movie โ from preproduction through editing โ was a fresh experience for Baker. Not everything could be controlled. A mistake by a 16mm film processing lab ruined a portion of the movie.
โIt was the hardest thing Iโve done,โ says Baker, sounding more energized by filmโs difficulties than lamenting them. โPeople complain about theater tech and itโs like five days of 10-hour days. Iโll never complain about tech again.โ
Baker wasnโt new to film sets. Her husband, the academic Nico Baumbach, is brother to the director Noah Baumbach (Baker appears in his 2014 film โWhile Weโre Youngโ ). Greta Gerwig is her sister in law. Whether those affiliations leant anything to her experience making โJanet Planet,โ Baker declined to say.
Baker recoils, generally, from drawing direct lines between herself and her work. She picked out a hillside for โJanet Planet," she says, not because she ran down it as a child but for its โwitchyโ quality. To hear Baker discuss it, writing a play or making โJanet Planetโ is more about the evolution she undergoes in transforming memory into something outside of her, into something else.
โI do have some selective amnesia with everything I write where I canโt quite remember why I wrote it or who I was when I wrote it," Baker explains. "Thereโs some sort of way I work through things through my work โ my own crises and questioning. And when Iโm done, I never think about it again.
โWhatever I wrote the play about is a skin I get to shed,โ Baker says just before she departs. โMaybe thatโs why I do it.โ
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Follow AP Film Writer Jake Coyle at: http://x.com/jakecoyleAP