WesAnderson Tagged Articles at Cinematical

Writer-director Rian Johnson burst onto the scene when his high school-set noir riff, Brick, took home the Originality of Vision prize at the 2005 Sundance Film Festival. Now, after bouncing around Summit's release slate like the proverbial beach ball, his follow-up -- the romantic, romanticized con man caper, The Brothers Bloom -- is finally receiving a NY/LA bow this Friday before rolling out to more markets in the weeks to come.

Johnson obliged us to do a follow-up interview this week to complement our original chat from last November, and between the two, the filmmaker discusses everything from making the festival rounds and absorbing critical response to the glory of talking monkeys and just where he likes to stick his tea kettle...



Download Part 1 (31 mins.) by clicking here



Download Part 2 (12 mins.) by clicking here

-Score samples by Nathan Johnson, the film's composer and the director's cousin.-

I guess the one downside to this entire video is that there isn't really a Wes Anderson Film Festival in Austin, Texas on October 2nd of this year. Even though I probably wouldn't have traveled all the way to Austin to watch a marathon of Anderson's films up on the big screen, it still would've been a cool event to promote to those of you Anderson fans in and around the Austin (which should probably change its name to Awesome and be done with it already) area. But let me back up for a minute ...

Film school students Alex Cornell and Phil Mills were given an assignment to shoot a commercial for a fictional film festival, and they had the freedom to do whatever so long as their commercial promoted the fictional film festival and stayed true to their brand. I'll let Alex take over from here (from his blog post): "There were a multitude of directions this could take; we thought the most fun way would be to shoot a Royal Tenenbaums-esque short, and then just throw as much craziness as we could at it. Phil plays T. Allen Fenway, a fictional character we made up to live in our Wes Anderson film festival world. We wanted it to remind you of Wes Anderson, make you laugh, and eventually turn you on to the festival. The 3rd person narrator, use of Futura Bold for all titles, extravagant setting, and full blown randomness were all utilized to aid in conjuring this look and feel."

Check out the commercial below, and head on over to this blog for more on how they put this together. Special thanks to Cinematical reader James T. for the tip.

Wes Anderson Trailer from Alex Cornell on Vimeo.

Ah, another week, another jumble to the calendar -- specifically, to 20th Century Fox's release slate.

According to Box Office Mojo, the studio has moved The Tooth Fairy back from November 13th to next January (because where else are you going to stick a Dwayne-Johnson-as-hockey-player-as-tooth-fairy outing?), and Wes Anderson's The Fantastic Mr. Fox has moved back a week from 11/6 to 11/13 as their choice contender for the family dollar. This now places it right after Disney and Robert Zemeckis' A Christmas Carol (really, the first week of November?) and just before Warners' Cats & Dogs sequel (really, the second movie of Cats & Dogs?).

I'm not sure how much Johnson's recent Race to Witch Mountain cost, but I can't help but think that he'd like to outperform that film's good-not-great $60-ish million gross, and January could be just the grounds to do that in. (Paul Blart: Mall Cop opened within a week of the proposed new date and has raked in... almost $144 million? Yep, over $140 million.) Mr. Fox, on the other hand, is a mainstream proving ground for the ever-quirky Anderson, and with a voice cast that includes George Clooney, Cate Blanchett, Meryl Streep, Jason Schwartzman, Bill Murray, and Anjelica Huston, let's hope it has reason to top the $28 million gross of that last animated adaptation of a Roald Dahl book, 1996's James and the Giant Peach.

But of course, none of that matters, because the real news is that Sandra Bullock's apparent psychological thriller rom-com All About Steve has found itself a home on September 4th. Sure, it's a little early in the awards season to stake a claim, but I'll leave the for-your-consideration campaign in their hands...

Our friends over at the Upright Citizens Brigade Theatre sent in this video of their top performers re-enacting famous sketches as if [insert famous filmmaker] directed them. Which sketches with which directors, you ask? Well, we have Abbott and Costello's "Who's on First?" as directed by Wes Anderson, Monty Python's "The Ministry of Silly Walks" as directed by Michael Moore, and The Kids in the Hall's "I'm Crushing Your Head"? as directed by Quentin Tarantino. This is a fantastic idea; I almost wish some of them went on a tad longer than they did by introducing other elements.

Not long ago, during the election, someone else did something similar by creating attack ads as if they were directed by famous filmmakers (the Wes Anderson commercial for John McCain was brilliant, by the way). Check out this new video from those crazy cats at the UCB below, then maybe throw them some ideas for where they can go next with this idea.

This one was sent in to us yesterday by Cinematical reader Jared N. and I wasn't going to post it because I guess it could kinda sorta be anti-McCain (and I know how much our readers love to call me out whenever I post something even remotely left-ish), but in my heart of hearts I feel this makes more fun of directors John Woo, Kevin Smith and Wes Anderson than it does John McCain. It's rather harmless in my opinion, but feel free to once again call me all sorts of racist, disgusting, hateful names in the comments section.

With that out of the way, a group of funny blokes from LandlineTV put together the above video which shows what it would look like if John Woo, Kevin Smith and Wes Anderson directed an attack ad for John McCain. I found the Wes Anderson bit to be rather brilliant and hysterical -- so much so that I desperately wanted more -- and the Woo and Smith bits aren't too bad either (except the former goes on a tad too long). "Check it out and enjoy," said the movie blogger right before buckets full of virtual tomatoes were thrown at him.

Which directors would you like to see direct an attack ad next? (I vote for Michael Bay.)

Writer-director Wes Anderson is probably most famous for his quirky character studies, but lately you can't help but notice the guy has been branching out. First up was an animated film, and now it's on to any studio's most prized posession: the remake. Variety reports that Anderson has signed with Universal and Imagine Entertainment to write a remake of the 2006 French comedy, Mon meilleur ami (My Best Friend). So far, Anderson is just in charge of the script, but there's already talk he might be eying the project as his next directorial gig.

Patrice Leconte's original film starred Daniel Auteuil as a cantankerous antiques dealer who has the misfortune of overhearing his friends at a dinner party. When he learns the unfortunate truth about what they really think of him, he's forced to acknowledge his unappealing traits. But the humiliation doesn't stop there; our unloved antiquarian then makes a bet with a business partner to produce at least one friend, and of course, he doesn't have any. So instead, he hires an amiable cab driver to pose as his life-long pal.

There has always been a touch of the misanthropic in Anderson's work, so it seems like My Best Friend would be a natural fit. Besides, now that Anderson has finished working on the adaptation of Roald Dahl's The Fantastic Mr. Fox, it's the perfect time to lock him into his next job. So even if the guy doesn't decide to direct, at least we are getting a Wes Anderson script ... and that should count for something, right?

Would you want to see a Wes Anderson-penned film that wasn't also directed by the man himself?

Further ensuring that the band Pulp should have new fans in the future, front man Jarvis Cocker continues to seek younger listeners. This time, in an interview with Time Out Chicago, he claims to have written a few tracks for Wes Anderson's stop-motion-animated film The Fantastic Mr. Fox, which is based on the novel by Roald Dahl. He says there are three or four songs and then some music that could become part of the film's score. Additionally, in response to questions regarding his solo track "Disney Time", he notes that writing music for a kid's movie is his chance to "do better" than Disney films, at least in terms of corrupting young minds.

A few years ago, Cocker contributed to the soundtrack for Harry Potter and the Goblet of Fire and even appeared in the movie as a member of the fictional group The Weird Sisters, performing the songs he composed, "This is the Night", "Do the Hippogriff" and "Magic Works." Pulp has also written songs specifically for movies in the past, including a rejected theme song to the 007 movie Tomorrow Never Dies (both the original version of "Tomorrow Never Dies" and a retitled version called "Tomorrow Never Lies" were later released as a bonus track and a B-Side, respectively). In the interview, he suggests that Quantum of Solace could now use his solo effort "Quantum Theory", to which he'd change the lyrics appropriately.

When QOS arrives in theaters this fall, don't be surprised if Cocker's song isn't heard. As for Fantastic Mr. Fox, we'll have to wait until November 2009 to see if the man's music makes its way to impressionable ears.

[via I Watch Stuff]

Some have said that The Darjeeling Limited is a movie for Wes Anderson's fans. While that description is fairly accurate, it also suggests that this is some sort of Jay and Silent Bob Strike Back project -- a self-indulgent film only for those filled with Anderson adoration. While it does tap into the magic that brings fans to the filmmaker -- the rich colors, quirky characters, and strange introspection -- it is also a study of grief, and a film that perfectly embodies the importance of charisma and chemistry.

As Erik Davis wrote in his NYFF review, it's hard to see Adrien Brody, Jason Schwartzman, and Owen Wilson as brothers, but from the minute they come together on screen, each mannerism and look makes them seem immediately comfortable with each other, as if they are actually related and intimately familiar. It doesn't matter that they all look incredibly different. Brody slips into Anderson's world fluidly, and the three leads play off each other, making the quirk not only palpable, but subtly genuine.

Most of us are probably painfully aware of the stress of the holidays when it comes to familial relationships. Films about families tell the one story that practically anyone can relate to. So in the spirit of feeling better about ourselves I've compiled a list of some of the most dysfunctional families in film. Maybe after taking a look at some big-screen dysfunction, we can sit back and take a little solace in that at least none of us have to sit down to Christmas dinner with any of the people on the following list.

1. Spanking the Monkey

Before he was famous on You Tube for his demented freak-out on the set of I Heart Huckabees, David O. Russell was famous for making the unthinkable; a comedy about incest. Monkey stars Alberta Watson as Susan Aibelli; a lonely and depressed mother who develops a sexual relationship with her son after they are left alone together for the summer. Jeremy Davis stars as her son and the subject of this unlikely coming-of-age story. The film might not be for the weak of heart, but it did manage to win an audience award at Sundance in 1994, and was responsible for turning Russell into the megalomaniac we've all come to know and love.

2. Ordinary People

Besides going down in infamy as the film that beat Raging Bull out of a 'Best Picture Oscar', this 1981 drama about a family dealing with the loss of it's 'favored son' was the directorial debut of Robert Redford. Timothy Hutton stars as the younger brother who is readjusting to life after a botched suicide attempt. Donald Sutherland and Mary Tyler Moore also star as the parents to Hutton and Judd Hirsch as the prototypical 'earthy NY Jewish' psychiatrist. So for anyone who watched Mary Tyler Moore as the epitome of 'chirpiness' during the seven year run of her self-titled series, get ready to be blown away, because her performance as a cold and repressed suburban mom is one of the best there is.

Well, it's official. The Writers Guild of America is going on strike tomorrow. Here's hoping the strike ends quickly and that all parties come away happy. And writers? Use this time off to study my choices for the seven best screenplays of the 2000's:

The 40 Year Old Virgin by Judd Apatow & Steve Carell

The blending of improvisation and the written word gives Apatow's two classic comedies -- Knocked Up would be the other -- a feeling of authenticity that is all too rare in today's film world. Apatow takes the strategy of writing for specific performers and their strengths, and it really pays off. Scoff if you want at a sex comedy making the list, but for a movie to be this incredibly funny -- while keeping an oddly touching romance and a spot-on character study afloat -- the screenwriters deserve high praise.

About Schmidt by Alexander Payne & Jim Taylor

One of the saddest comedies ever made, and one of the most truthful and painful portraits of old age. Payne and Taylor specialize in scripts about people on the verge of cracking, depressed souls who tend to find the smallest redemption possible. Payne/Taylor characters never go from Point A to Point B over the course of the screenplay, they go from Point A to Point A.1. The small, gradual changes in their characters are reflective of the way actual humans (as opposed to movie humans) work. Warren Schmidt's personal growth is so minor that it is confined to the last thirty seconds of the film, but when it comes it's an emotional punch in the gut.