The Visual Art of Mark Mothersbaugh

mothers.jpg

Recent article: “The Visual Art of Mark Mothersbaugh”

Update: a great website w/ galleries — the visual art of mark mothersbaugh

A few recent articles.

Owen Wilson on Exhibit After Filming in India, Dallas Morning News

Hollywood’s tryst with Udaipur, Business Standard

Pass the Peace, (Jason Schartzman), CHUD.com

Darjeeling Wraps Shooting in India

From India eNews.com

Hollywood stars Owen Wilson and Adrian Brody have completed the last leg of shooting schedule for the Darjeeling Limited in this city of palaces and lakes known as the Venice of the East.

The Academy Award-nominated American actor-writer along with co-stars Broody and Jason Schwartzman are had landed here Jan 17 and spent about eight hours every day shooting for the India-centric film. The stars and the film unit are expected to leave for home later Tuesday.

Also Bill Murray will be a guest on tonight’s episode of The Late Show with David Letterman. Bill will help Dave celebrate his 25th year on late night television. I will try and get a video up if he mentions anything related, and post it here for those who miss it.

Bud Cort interview

bucort.jpg

Wes is completely different from all of them. I never worked with Fellini but I almost did. Wes is his own planet but I see a little Fellini streak there. After the film was reviewed it was like when cubism came on the heels on impressionism and people went insane. Wes is a cubist with classical netting. – Bud Cort

A pretty interesting interview with one of our favorites, Bud Cort from The Life Aquatic and Harold and Maude (please note that this interview transpired two years ago but has only now been published).

Interview with Waris Singh Ahluwalia about Darjeeling Limited

w2.jpg

Waris Ahluwalia (from The Life Aquatic) has confirmed he will appear in The Darjeeling Limited in an interview with SikhChic.com.

“The Life Examined with Wes Anderson” {archive}

New York Magazine, December 20, 2004

What did the idiosyncratic director do with his first full-size budget? He put Bill Murray into a father-figure role, and gave him a speargun.

Wes Anderson’s The Life Aquatic With Steve Zissou looks, at first, as though it’s the inevitable final entry in what you might call Anderson’s Great-Search-for-a-Father-Figure Trilogy. It’s of a piece with previous Anderson movies like Rushmore (1998) and The Royal Tenenbaums (2001), in that it features a selfish bastard (Bill Murray in the first; Gene Hackman in the second) who, in crumbling middle age, decides it’s important to impart some of his wisdom, or at least his hard-won cynical savvy, to a young man who views him as a father figure, if not an actual father. What’s with the dad thing, Wes?

Continue reading ““The Life Examined with Wes Anderson” {archive}”

“Wes Anderson carves a masterful ‘Rushmore'” {archive}

Boston Phoenix, February 1999
By Peter Keough

RUSHMORE; Directed by Wes Anderson. Written by Wes Anderson and Owen Wilson. With Jason Schwartzman, Bill Murray, Olivia Williams, Brian Cox, Seymour Cassel, Mason Gamble, Sara Tanaka, Stephen McCole, and Luke Wilson. A Touchstone Pictures release. At the Nickelodeon, the Kendall Square, and the Circle and in the suburbs. Adolescence, for better and worse, defines popular culture these days, from the hit movie Varsity Blues to the junior-high petulance and concupiscence of the United States Congress. In the process, with the emphasis on hormones, pseudo-hipness, bogus nihilism, and bodily functions, all of the charm of that evanescent, inescapable state of mind has been lost, as well as the magic, the optimism, and the spontaneity. In his brilliant new Rushmore, Wes Anderson goes a long way to restoring all that. It’s innocent (mostly — the deviations are crucial, never gratuitous) and funny — in its way as funny as There’s Something About Mary. Smugness and smarminess never taint its irony; compassion and exuberance stir its absurdity.The spirit of Rushmore, the genial private academy of the title, is embodied in its hero, Max Fischer (Jason Schwartzman, whose film debut is comparable in many ways to that of Dustin Hoffman in The Graduate). His gravely monumental face peaking in a prominent, pasteboard-looking nose surmounted by Harold Lloyd-like glasses, he’s driven by simple, irreconcilable desires: he wants to be loved; he wants to succeed; and he wants to remain forever at his beloved school. On the basis of a play he wrote about Watergate at age seven, his mother got him a scholarship to go to Rushmore. Now 15, with his mother dead, and his loving dad (Seymour Cassel, another great face and performance) an embarrassment given the tony crowd Max is hanging around with, he sees Rushmore as his alma mater in the literal sense. It’s the womb he doesn’t want to leave.That may explain why he’s such a lousy student. An opening fantasy parodying Good Will Hunting notwithstanding, he’s failing every course. In extracurriculars, though, he’s outstanding — in a hilarious montage of yearbook-like snapshots, he’s shown as active in every group from the Bombardment Society to the Max Fischer Players, his personal drama corps. But Dean Guggenheim (Brian Cox, one of the few excellent supporting actors underused) has had enough. Max faces “sudden-death probation” — one more failure and he’s across the street, where the grim Grover Cleveland public high school looms.

Continue reading ““Wes Anderson carves a masterful ‘Rushmore’” {archive}”

Onion A/V Club Interview with Wes Anderson {archive}

The Onion A/V Club
By Keith Phipps

Though he only has two films on his resume, it’s safe to say that no one makes movies like Wes Anderson. Despite barely being released in theaters, his debut, 1996’s Bottle Rocket, still found an audience on video. Starring brothers Luke and Owen Wilson (who also serves as Anderson’s writing partner), the sweet, complex, humane comedy about a hapless group of aspiring criminals struck a chord with most who saw it, even while languishing in relative obscurity. Rushmore, Anderson’s follow-up, doesn’t seem likely to meet the same fate: It has a high-profile star in Bill Murray and the support of its studio. More importantly, the film has gathered an avalanche of good will from critics, many of whom began publicizing its virtues in November, long before most people could see it. Rushmore tells the story of a lovestruck 15-year-old private-school student whose desire to achieve in every extracurricular activity is outstripped only by his inability (or unwillingness) to recognize his limitations. Raised in Texas, the 33-year-old Anderson shares with his film’s protagonist a private-school background (Rushmore was filmed at the academy he attended as a boy) and prodigious creative instincts (like Rushmore‘s hero, he channeled much of his energy into staging elaborate school plays). Anderson recently spoke to The Onion while touring America in a yellow school bus emblazoned with the Rushmore logo.

The Onion: Tell me about this bus tour you’re on. Have you had any strange experiences on it?

Continue reading “Onion A/V Club Interview with Wes Anderson {archive}”

“Funny Men Bill Murray & Wes Anderson” {archive}

Interview (magazine), February 1999

Not since the mid-to-late ’80s — the days of movies like Blue Velvet, True Stories, Raising Arizona, and Something Wild — has there been a slice of post-modern Americana as funny, thoughtful, and downright weird as the unmissable Rushmore. The film tells the tale of fifteen-year-old nerd entrepreneur Max (played by astounding newcomer Jason Schwartzman), who gets tycoon Mr. Blume (Bill Murray) to sponsor his madcap schemes so he can impress the schoolmarm he desires (Olivia Williams), only for the melancholy millionaire to fall for her himself.

Continue reading ““Funny Men Bill Murray & Wes Anderson” {archive}”

If I Can Dream {archive}

The Everlasting Boyhoods of Wes Anderson
From the Lawnwranglers.com Archive
Film Comment, January/February 1999
by Mark Olsen

Unlike many writer-directors of his generation, Wes Anderson does not view his characters from some distant Olympus of irony. He stands beside them — or rather, just behind them — cheering them on as they chase their miniaturist renditions of the American Dream. The characters who inhabit Anderson’s cinematic universe, a Middle West of the Imagination, embody both sides of William Carlos Williams’ famous edict that the pure products of America go crazy, being, for the most part, both purely American and slightly crazy. Though some might label his people losers, or even invoke that generational curse, slackers, they are in fact ambitious and motivated overreachers, misguided though their energies occasionally are.

Continue reading “If I Can Dream {archive}”