Category Archives: Wes Anderson

Wes Anderson about his Oscar nominations

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“I’ve been asked to make a “statement” even though I feel it does sound more like bragging. Nevertheless, my producers and I send our very deepest thanks to the Academy and its 8000 members for a whole slew of Oscar nominations, especially for my long-time collaborators Robert Yeoman (our cinematographer who has worked with me on seven movies, if I count them right), Milena Canonero (our Italian costume designer), Alexandre Desplat (our French composer), Barney Pilling (our English editor), Frances Hannon and Mark Coulier (more English, hair/make-up), and Adam Stockhausen out of Wisconsin. Also, my friend Hugo Guinness (who co-wrote the movie with me) expresses his own gratitude. We feel very deeply honored and thrilled and, frankly, very, very pleased with ourselves all around.”

Source: Austin Movie Blog

And to continue with all the award seasons related, The Grand Budapest Hotel also won at the Critics’ Choice Awards in three categories: Best Costume Design, Best Art Direction and Best Comedy.

Keep the awards coming

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Today were announced the nominations at the Directors Guild Awards (DGA) and we are happy to let you know that Wes Anderson is nominated for his work on The Grand Budapest Hotel. He will be competing along with Clint Eastwood (American Sniper), Alejandro Gonzalez Iñarritu (Birdman), Richard Linklater (Boyhood) and Morton Tyldum (The Imitation Game).  It is the first nomination at the DGA for Wes Anderson and so it is for Linklater and Tyldum. The winner will be announced on February 7.

The Grand Budapest Hotel wins at the Golden Globes

It was unexpected, maybe, because the movie had several nominations but along the night it wasn’t winning any of them.

Best Director went to Richard Linklater for Boyhood.

Best Screenplay went to the several writers of Birdman.

Best Comedy/Musical Actor went to Michael Keaton for Birdman, too.

 

But when it was time to hear the Best Movie Musical or Comedy we had such a nice surprise…

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Here you can watch the moment when Wes and part of the team came to the stage to receive the award.

Awards season is just starting

In case you didn’t know, The Grand Budapest Hotel has became one of the favorite movies of 2014. Not only it has been a success at the box office but it also got tons of good reviews and now, we are in December and everyone is making their balances, the movie appears in several lists of the best movies of the year. Even it is the #1 movie for Time Magazine.

But being at this time the year it also means that the Awards season is just starting. We know that the Oscars doesn’t happen till late February and we don’t know yet which nominations it is going to have, but we can’t expect less than the best for it.

Let me keep you updated with some of them with this graphics made by Fox Searchlight Pictures.

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Q&A presented by Richard Linklater with Wes Anderson, Jason Schwartzman and Randall Poster

This Q&A hosted by Richard Linklater was for The Grand Budapest Hotel at this year’s SXSW and now you can watch it entirely. 45 minutes long. You can’t miss it!

Wes Anderson and Owen Wilson remember L.M. “Kit” Carson

This is what Matt Zoller Seitz (the film critic who brought us that amazing book called “The Wes Anderson collection”) wrote this at rogerebert.com:

Owen Wilson and Wes Anderson first entered the film scene with 1996′s “Bottle Rocket,” which began life as a short film shot in Dallas, Texas, three years earlier, when Wilson and Anderson were recent college graduates living in a small apartment not too far from downtown. L.M. “Kit” Carson, a Dallas-based filmmaker, actor and screenwriter, took them to Sundance and helped teach them about filmmaking and the film business. I asked Wes if he’d talk about Kit, and he and Owen wrote this together. Matt Zoller Seitz

We met Kit twenty years ago. He and his wife Cynthia Hargrave had come back to Texas to put Kit’s actual, biological son Hunter through school there, and we submitted ourselves to be the adopted ones: hoping to become his latest discoveries. (We weren’t the first. He was a natural guru.) He was the only person we had ever met who actually worked in the movie business, and we had never come across someone who so automatically and instinctively turned any idea or experience or suggestion into a story — a pitch. Sometimes it was only at the end of the story that you realized: this has a purpose. He’s advising us. These are “notes.”

He had a rustic glamor, like a sort of a cowboy-screenwriter. He never told us much about his childhood, except that the L. was for Louis and the M. was for Minor. Two old men he was named after.

What we heard about was guerilla film-making and gonzo film-journalism and Dennis Hopper in Taos and Peru. We loved Kit in “David Holzman’s Diary,” which we saw with him in Dallas, and we had already loved his work in “Breathless” and “Paris, Texas.” He had longish, stringy, sandy hair, and he clomped through the house in hiking boots all year round. He gave us a one-on-one tutorial in script-writing and short-film-editing (and, also, a lesson in how to hustle a project into its existence). Cynthia said to us that of all the people who were lucky to have known Kit, we were the luckiest. It certainly feels that way to us. He introduced us to the rest of our lives.

We drifted apart over the years, but we’ve missed him, and we’ll keep missing him.

He was a good guru.

-Wes Anderson and Owen Wilson

 

Wes Anderson and Kent Jones talk about Pedro Almodóvar

Criterion just published a nice conversation between New York Film Festival director Kent Jones and Wes Anderson.

The topic is Pedro Almodóvar, who just got a few new releases in Criterion. I leave you some quotes by Wes Anderson in it. You can read it completely here, for example to find out what Almodovar film is Wes Anderson’s favorite.

But Almodo?var, I think he picks up the thread from Bun?uel. You certainly register that he comes from the same place. There’s a sensibility and a surrealism in Almodo?var, a different kind, there are things that link them. They both make movies where there’s great drama but that are always still funny. There’s a kind of sexual strangeness and peculiarity and violence that’s usually funny.

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