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Wes Anderson directed a short holiday film starring Adrien Brody for H&M. It is delightful. You can criticize the twee formality in his work,1 but this is a reminder that Anderson can bring the emotion when he wants.
I mean, I love that about his stuff, but I know many don’t. Criticize away!↩
Music is an essential aspect of Wes Anderson’s films. Michael Park has created a 9-hour playlist of music from Anderson’s movies, from Bottle Rocket (Artie Shaw & Chet Baker) to The Royal Tenenbaums (Elliott Smith & Nico) to Fantastic Mr. Fox (Burl Ives & The Rolling Stones) to The Grand Budapest Hotel (mostly by Alexandre Desplat).
In an interview with Alexander Olch, founder of the cool new Metrograph theater in NYC, Wes Anderson just casually reveals that he’s doing another stop-motion animated movie that’s currently in production.
I’ve got an animated movie I’m doing that’s happening across the room from me right now. So I can see a long list of e-mails from people on the set whom I now need to address.
We know from about a year ago that dogs are involved, as are Bryan Cranston, Bob Balaban, Edward Norton, and Jeff Goldblum. Looking forward to this one…Fantastic Mr. Fox is Anderson’s most underrated film.
P.S. In the same interview, Anderson and Olch briefly discuss Powers of Ten. :)
A visual comparison of Wes Anderson’s movies with some of the films that influenced him, including The 400 Blows, The Graduate, The French Connection, Star Wars, and Last of the Mohicans. (thx, luis)
Update: Here’s another short video from Candice Drouet that shows more of Anderson’s references, with almost none repeated from the video above by Luís Azevedo.
Drouet used “references claimed by Anderson himself” while Azevedo’s pulled its references from Matt Zoller Seitz’s work, most notably from The Wes Anderson Collection. Azevedo explains some of the connections made in his video.
Wes Anderson saw Truffaut’s “The 400 Blows” on Beta tape at when he was 17 or 18. When discussing his love for Truffaut with Matt Zoller Seitz, Anderson said that movie “made a huge, rock band-type impression on me when I saw it. It’s one of those films where you say, ‘not only did I just enjoy this experience, now I think I would like to model my future on this somehow.’”
He also felt a unique voice from “The 400 Blows”: “There’s one name you can put to on the whole thing.”
I am not alone in saying that The Darjeeling Limited is perhaps my least favorite Wes Anderson movie (even though Ebert liked it). But it’s Evan Puschak’s favorite and he does an admirable job in raising my appreciation for the film.
Wes Anderson’s films are chock full of bad fathers and father figures. Bad Dads, the third book in the Wes Anderson Collection, showcases some of the art from the annual Bad Dads art show (prints!) at the Spoke Art Gallery in San Francisco.
The films of Wes Anderson and Stanley Kubrick share some interesting visual similarities. Any influence was a one-way street, of course. With the exception of Bottle Rocket, which was cinematically spare compared to his later work, all of Anderson’s films were shot after Kubrick finished shooting Eyes Wide Shut.
Brooklyn-based illustrator and design Mark Dingo made these postcards based on Wes Anderson’s films, one for each movie. (via @timothy_schuler)
Spanish artist Mar Cerdà uses watercolor and paper to create amazingly detailed dioramas, including those made from scenes in Wes Anderson movies. So far, he’s done scenes from The Grand Budapest Hotel, The Darjeeling Limited, and The Royal Tenenbaums. (via designboom)
They should have roped Mothersbaugh in on the music, but this was actually really informative! And the Bobby Jindal slow-mo was [kiss-fingers emoji].
“DVD extras” is a phrase that’s rapidly receding in the pop cultural rearview mirror, but YouTube is chock full1 of them for many popular movies and shows. Here are a few behind-the-scenes looks at Wes Anderson’s The Grand Budapest Hotel.
Bonus video: how to make a Courtesan au Chocolat from Mendl’s:
“Chock full” is another antique phrase, although I bet people will still be using “chock full” long after “DVD extras”.↩
Posted here purely for the sake of completeness, here is a supercut of every1 supercut, parody, analysis, and compilation of Wes Anderson and his movies, the whole twee ball of wax.
I hadn’t realized there was so much cussing swearing in Wes Anderson’s movies. Here are some damn examples:
Just realized what the world is missing: the “fuck fuck fuck” scene from the first season of The Wire, but done in the style of (“cuss cuss mothercusser”) and with the characters from Fantastic Mr. Fox.
Books loom large in Wes Anderson’s movies. Several of his films open with opening books and Fantastic Mr. Fox is based on an actual book. Here’s a nicely edited selection of bookish moments from Anderson’s films.
In the work of Wes Anderson, books and art in general have a strong connection with memory. The Royal Tenenbaums (2001) begins with a homonymous book, as does Fantastic Mr. Fox (2009). The Grand Budapest Hotel (2014) begins and ends with a book. Moonrise Kingdom (2012) ends with a painting of a place which no longer exists. These movies have a clear message: books preserve stories, for they exist within them and live on through them.
If you take Wes Anderson’s The Grand Budapest Hotel and mix in elements of Stanley Kubrick’s The Shining, the result is pretty good.
(via devour)
Stephen Biesty is a illustrator for books who draws “illustrations that are unrivaled for their ambitious scope and attention to detail”. I love this but somehow I hadn’t seen any of his apparently quite popular books. Many of them appear to be out of print, but there are some available on Amazon: Stephen Biesty’s Incredible Cross-Sections, Stephen Biesty’s Incredible Everything, and Into the Unknown.
Looking through these illustrations and also thinking about Richard Scarry’s books, I’m reminded of the intricate cross-sections from Wes Anderson’s movies. For instance, the boat from The Life Aquatic:
Biesty’s first book with this illustration style came out in 1992, the same year a 23-year-old Anderson shot his first short film, Bottle Rocket. But the director’s first real use of the cross-section didn’t happen until The Royal Tenenbaums in 2001, and even then it wasn’t explicit…but the tour of the Tenenbaum house definitely felt detailed in the same way as Biesty’s intricate cross-sectional drawings. I’m not the first person to draw parallels between Anderson’s work and Scarry, but I wonder if Biesty is somewhere in there too. (via @aaroncoleman0)
As an addendum to his 2013 book, The Wes Anderson Collection, Matt Zoller Seitz has written a book on Anderson’s latest film, The Grand Budapest Hotel.
This supplementary, one-volume companion to The Wes Anderson Collection (Abrams 2013) is the only book to take readers behind the scenes of The Grand Budapest Hotel, with in-depth interviews between Anderson and cultural critic and New York Times bestselling author Matt Zoller Seitz. Anderson shares the story behind the film’s conception, the wide variety of sources that inspired it — from author Stefan Zweig to filmmaker Ernst Lubitsch to photochrom landscapes from turn-of-the-century Middle Europe — personal anecdotes about the making of the film, and other reflections on his filmmaking process.
Here’s an interview with Seitz on the book and Inhabiting Wes Anderson’s Universe. This new book will look good next to The Wes Anderson Collection and The Making of Fantastic Mr Fox on my bookshelf.
Update: Martin Venezky is the designer of the book and has shared some spreads from the book. Looks gorgeous.
Robert Yeoman has been the cinematographer for all of Wes Anderson’s movies, save for the stop-motion The Fantastic Mr. Fox. Kyle Buchanan at Vulture talked to Yeoman about how he shot nine iconic scenes from Anderson’s films. Of the one-take shot near the end of The Royal Tenenbaums:
We had to triple up on scenes from The Royal Tenenbaums just so we could include this subtly marvelous shot from the finale of the film, where the camera drifts from character to character in the aftermath of an accident. “There were a lot of moving parts, and it was very difficult - Wes was determined to get it in one take and didn’t want to make a cut, so we did, I think, about 20 takes of it,” says Yeoman, who mounted a crane arm to a dolly for fluid movement. “The tough part is that it ends with a very emotional moment between Gene Hackman and Ben Stiller, and this scene was so difficult technically - things didn’t always happen when we wanted them to happen, and we’d have to cut - that it’s a testament to Gene and Ben that they were able to hang in there and really deliver on take 20.” What was going wrong before then? “I don’t want to name names, but there was one actor about two thirds of the way through it who kept blowing his lines, and we’d have to start over again,” says Yeoman. “That was a little frustrating, especially because Gene and Ben were waiting there, getting themselves to a certain place emotionally. I felt bad for them, but that’s just part of making films.”
(thx, greg)
Jessica Hische and Font Bureau have teamed up to offer the typeface Hische designed for Wes Anderson’s Moonrise Kingdom. Meet Tilda (great name). Art of the Title interviewed Hische about the typeface last year.
A compilation of some of the vehicles used in Wes Anderson’s movies, shot from the first-person POV.
(via devour)
Twee out with more than 9 hours of music from Wes Anderson’s movies:
LOOK Effects did the visual effects for Wes Anderson’s The Grand Budapest Hotel and Darren Aronofsky’s Noah. (via @Colossal)
By Louis Paquet, the opening titles of Forrest Gump if it were directed by Wes Anderson.
(via @kyledenlinger)
The Grand Budapest Hotel is Wes Anderson’s most design-y film, and that’s really saying something. Typography is present in almost every frame; at times, it was almost oppressive. Creative Review interviewed designer Annie Atkins, who was responsible for the film’s graphic design elements.
Oh my goodness, so many signs in the 1960s hotel lobby! I have to give credit to Liliana for this work, as she took care of nearly all of these. She had three sign-writers from Berlin painting non-stop for a week to get them all done in time for our first day of shoot, as that set was first up. Wes and Adam had seen so many examples of quite officious signage in what had been communist East Germany — don’t do this, don’t do that, do this but only like that! The signs really added to the claustrophobic feeling of that set, and Wes had asked for them all to be black with simple white hand-painted lettering — based on the style of the old sign at Yorckstrasse subway station in Berlin.
Oh hello Grand Budapest Hotel soundtrack on Rdio. Alexandre Desplat. It’s a goooood morning.
Also available for download on Amazon or iTunes if that’s your thing.
In his own words, Wes Anderson explains different aspects of his visual style.
Nicely edited together by Nelson Carvajal at Way Too Indie.
No one uses slow motion more consistently than Wes Anderson; all his films except Fantastic Mr. Fox use the technique. Here are all the slow-mo scenes from his films strung together:
(via devour)
Wes Anderson did a short film for Prada. The film contains race cars, Jason Schwartzman, Italy, and tweeness.
(via digg)
Speaking of Wes Anderson, Matt Zoller Seitz has finished his video essay series on Anderson’s movies. You can find the entire collection of videos on Vimeo and transcripts and notes are on Seitz’s blog. Here are the final two to get you going:
And if that’s not enough for you, here’s the book that the videos are based on.
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