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.
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…
Here you can watch the moment when Wes and part of the team came to the stage to receive the award.
The latest movie by Wes Anderson has more BAFTA nominations than big award season contenders like Birdman and Boyhood.
These are all the categories where it is nominated:
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.
This video is from two Graphic Design students who recreated the opening credits of The Grand Budapest Hotel in paper stop motion. Enjoy!
Source: Behance (where you can also watch pictures from the video and the backstage).
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!
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
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.
A new video by UCB Comedy for Characters Welcome. If you ask me, the best part is when he sings a Spanish version of John Lennon’s “Oh Yoko”.