Jason Schwartzman is out promoting the second season of his fantastic HBO series Bored to Death, and today he did a 40 minute interview with Terry Gross for Fresh Air, covering the show and his whole career.
“I gave the script [of Rushmore] to my mom and I said ‘Mom, I’ve never auditioned. Can you give me any pointers? Can you help me memorize lines?’ and she read the script and she said ‘I’ll be right back’ and she went out and rented three films, The Graduate, Dog Day Afternoon, and Harold and Maude. And I watched them all for the first time. And it was in that moment where I felt, watching the films, this warm, insane feeling inside of my body which was a feeling that up until then music had given me. And it was in that moment where I said ‘I don’t know if I’ll ever get this part. I don’t know if my band will ever make it. But I’ve got to try to live my life somehow staying as close to this weird feeling as possible.”
Listen to the interview after the jump, or at Fresh Air‘s site, where you can also download a podcast of the interview.
The day has arrived. The Criterion Collection DVD and Blu-Ray of The Darjeeling Limited is released today. We know many of you are excited about it. If you’re still on the fence, you can read DVD Beaver‘s review or look at the specs here. If you get the DVD or Blu-Ray today, leave us a comment and let us know what you think of the set, or Tweet us at @RushmoreAcademy.
You can read their review at their site, where you’ll find more hi-res screen caps, and visit our previous story on the DVD and Blu-Ray where you’ll find links to pre-order. By using our links you help to support the site.
That’s where Wes Anderson comes in. The director of “The Royal Tenenbaums” (2001), “The Life Aquatic With Steve Zissou” (2004), “The Darjeeling Limited” (2007) and this year’s Roald Dahl adaptation “Fantastic Mr. Fox” is as much a train-set filmmaker as Zemeckis, Jackson and Lucas, and like Fincher, Paul Thomas Anderson (“Punch-Drunk Love,” “There Will Be Blood”), Zemeckis and Spielberg, he’s one of the few prominent Hollywood filmmakers working in the ’70s auteur tradition — and doing it with a style so distinct that it can never be stolen, only imitated. He’s notorious for fretting over every aspect of his movies, from the texture of the clothes to the precise geometric motion of each shot and camera movement to the choice of on-screen font (he prefers variations of Futura). Detractors describe his style as fussy, overcomplicated, even airless — and if one prefers a messier, more spontaneous kind of filmmaking, or a more “invisible” style of direction, Anderson is almost certainly the opposite of fun.
I won’t mount a defense of Anderson as an exciting, imaginative and important filmmaker in this article, because I’ve already done it in a series of video essays.I mention him in this piece because of two particular aspects of his art. One is his commitment to analog moviemaking. He shoots on film and prefers to do everything, special effects included, on the set rather than create them after the fact. Even when he employs digital effects or processes, he calls attention to their artificiality; think of the obviously stop-motion sea creatures in “Aquatic” — or, for that matter, the unruly, roiling fur on the creatures in “Fantastic Mr. Fox” — which the director insisted be fabricated with hard-to-manage animal hair rather than more controllable synthetic hair, because he just liked how it looked.
Be sure to read the full piece at Salon, and leave your comments below. It’s a great essay, and well worth the read.