Friends, Romans, Countrymen– welcome back into the fold. As you have surely noticed, yes, things are slowing down- down, but not out. There is more to come and much to look forward to: the ever expanding release of Moonrise, award season, more information about Movie #8, films by related artists, and new features (!) on the site. But for now, let’s get to it.
As any person with two ears who has seen an Anderson film can tell you, the soundtrack is vital to the tone and success of the films. For many of the most memorable scenes, it’s impossible to extract the song from the memory or imagine any other song in its place. Try to imagine Margot stepping off the Greenline Bus without Nico. Try to imagine Peter running to catch the train without the Kinks. You can’t and you shouldn’t; the songs are perfect and pairing music with film is an artform in and of itself. Pitchfork interviewed Wes Anderson and Randall Poster separately about their musical influences, their personal music choices, and discovering new music.
Our favorite is this bit from Randall Poster:
Pitchfork: Do you ever think about whether your work with Wes has inspired people to make music, or opened them up to new sounds?
RP: In the course of the 16 years that we’ve worked together, a lot of bands have been born, and I think there have been some inspired by Wes, to a certain degree. And when kids come up to you and they’re like, “Rushmore really opened me up to a whole world of music,” that’s the absolute greatest. Both of us have shared the experience of being the kid in the dark, watching the movie and just saying, “Oh my God, this is the greatest thing I’ve ever seen.” And when you feel like you’ve affected another kid sitting in the dark, that’s a great reward.
The rest of the article can be read over at Pitchfork.
The writer and filmmaker, John Lopez, recently spoke with Wes Anderson on the process of making a “Wes Anderson film.” Check out the full interview here.
No matter how often others deconstruct and mimic Wes Anderson’s style, he almost always nails a note of whimsical enchantment you just won’t get anywhere else short of your first field trip to the Natural History Museum. And his latest, Moonrise Kingdom, has hit the commercial-critical sweet spot — who better to re-create the fastidious fantasies of adolescent love — without Anderson really changing it up: wide-angle tracking shots, check; deadpan delivery, check; Bill Murray’s vague sense of subdued aggression, double check. Which begs the question, how does Wes Anderson make a Wes Anderson film?
The Onion’s A.V. Club sat down with Bob Balaban to discuss his experience of working with an auteur and selections from his four-decade career, including when he worked as a translator both on- and off-screen for Francois Truffaut during Close Encounters.
This part especially charmed us:
AVC: There does seem to be a lot of Truffaut in Moonrise Kingdom.
BB: That’s what I thought. I didn’t think of it when I read it, but when I saw the movie, it just leapt out at me. The formality of the movie did not let me see it earlier than that, but when I saw the movie all together, I went, “Truffaut.” I was really sad Truffaut wasn’t watching it, because he would have just been crazy for that seven-minute scene on the island with the boy and the girl. That was Truffaut in a nutshell, the seriousness of kids and the respect you have to give them when you’re dealing with them or portraying them. The not talking down, the specificity of young love, which nobody ever gets, really.
Read the rest of the article over at the A.V. Club.
Maybe you haven’t yet heard, but Moonrise Kingdom is still expanding in its platform release. In order to keep up spirits and excite new audiences, Funny or Die produced an exclusive video directed by Wes Anderson with Jason Schwartzman as Cousin Ben hosting a screening for the Khaki Scouts. No spoilers, but a very cute addition to the online exclusives.
The most frequent question that we’ve seen on tumblr, Twitter, and Facebook has been, “When is Moonrise Kingdom opening in my hometown?” If you yourself have asked this question, you are part of the success story of Moonrise‘s platform release strategy.
First, let’s turn to wikipedia for a definition of a platform release:
A platform release is a limited release strategy, whereby the film opens in only a few theaters, then gradually expands to more theaters as word of mouth spreads and the marketing campaign gains momentum. Depending on the film’s success, there is even the possibility to expand into a wide release. The advantage of this strategy is that marketing costs are conserved until a film’s performance has been established. This way, if a film turns out to be very popular or critically acclaimed, the distributor may opt to spend more money than originally planned and push for a wider release; if the movie flops, the distributor can withdraw from the campaign without having spent much money promoting and advertising the film.
As you may have heard, MR opened in only four theaters (two in New York and two in Los Angeles), but the film earned $167,250 per screen, which is highest per-theater box office average for a non-animated film of all time.
Join us after the jump for more thoughts regarding MR‘s success. Continue reading
Welcome back to the Friday News Round-Up! As you may have noticed, things are slowing down a bit around here, but don’t you worry. We still have plenty of Wes Anderson-related splendor to share with you. Let’s get to it!
- (Above) Ezra Petronio, Marc Jacobs, Wes Anderson and Jarvis Cocker lunch in Paris, photo by Katja Rahlwes
- The Very White Self-Indulgence of Wes Anderson Studies is an interesting perspective on the director’s work and his fanbase.
- As there are so many positive reviews of Moonrise Kingdom (now at 95% on Rotten Tomatoes), it’s interesting to read a fairly negative review, this time from The Economist.
- Graphic designer Beth Mathews created a wonderful chart of the primary colors used in the last six Anderson films and notes how true he stays to his brand.
- Film School Rejects has sussed out six filmmaking tips from Wes Anderson, the central theme of which is to remain confident in yourself (which is a good lesson for anyone.)
- On the softer side, Hanniel and Chris had a Wes Anderson-inspired engagement photoshoot.
- Cinematographer Robert Yeoman, who has worked on all of Wes’s live-action feature films, discusses the use of Super 16 film and the technical aspects of the filming process.
- KCRW, a radio station out of California, has interviewed Wes after each of his films and has rounded up the interviews on one page, just for you. The Moonrise Kingdom interview is fairly standard, but it’s still refreshing. (But that’s just one man’s opinion.)
- Classic Interview: Owen Wilson and Wes discuss the writing and making of Bottle Rocket with the New York Times in 1996.
Yes, this is another post about something fantastic the A.V. Club did, but it was too good not to share. The A.V. Club recently took a field trip to Houston and visited the school that stood in for Rushmore Academy, St. John’s School.
The video features shot-by-shot comparisons of campus then and now, excellent interviews with a current teacher at St. John’s who was a friend of Wes’s in high school and the owner of Rosemary Cross’s home, and, as a bonus, has shot of Wes’s yearbook from senior year.
Houston: The Rushmore School
Join us after the jump for a bit more. Continue reading
The A.V. Club put together a fantastic supercut of seemingly all of the accessories in Wes’s first six films. Every belt buckle, pair of sunglasses, hat, and shoe (or paw) is represented in this three-minute film. It looks like a true labor of Wes Anderson-love, and that’s right up our alley.
A video quilt of whimsical Wes Anderson accessories
You can also read a bit about the film over at the A.V. Club.