Category: Bottle Rocket

Reel.com

Welcome to Andersonville I’m a confirmed Wes Anderson fan, but then you knew that. Rushmore and Bottle Rocket (directed by Anderson, co-written by Anderson and Owen Wilson) are among my favorite films of the ’90s. I can’t wait for the next one, something about a family of geniuses living in New York.

But my admiration for Anderson’s sly brand of filmmaking pales next to Jon Doyle and Mark Devitt’s. These guys are serious. How serious? Last February they went on a Wes Anderson pilgrimage, traveling by car from their native Canada to visit various locations Anderson used for Rushmore and Bottle Rocket in Texas. A little strange, I suppose, but also charming in an oddball, Wes Anderson sort of way.

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Salon.com

“Rushmore” director Wes Anderson talks about his first “collaborative” writing effort, his recent pilgrimage to the home of Pauline Kael and New York telephone booths.

BY CHRIS LEE

Director Wes Anderson’s rise from cable-access obscurity to Hollywood buzz boy is the stuff of indie auteur reverie. After graduating from the University of Texas, Anderson and his roommate, Owen Wilson, wrote and shot a 15-minute short on a shoestring budget. Through a combination of luck, talent and some well-connected family friends, the film found its way to Hollywood, where it gained the support of producer-director James L. Brooks. Brooks helped the duo hone their screenplay and secure a $5 million budget. The resulting feature, 1996’s “Bottle Rocket,” which starred Wilson and his brother Luke, is the story of a couple of suburban slackers whose aimlessness leads them to commit a series of half-baked heists. Though it opened to critical raves, it was more cult hit than blockbuster, but Hollywood took notice: Anderson commanded an eight-figure budget from Disney for his second feature, “Rushmore.”

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Icon Thoughtstyle, September/October 1998

Backed by some big Hollywood players, Wes Anderson and Owen Wilson have two movies, a house in California, and the same life they had in Texas.
by Philip Zabriskie

In high school, Houston-native Wes Anderson directed shorts on a cable-access station and wrote plays, “real crowd pleasers, stuff designed to get a big audience reaction,” says the 29-year-old. “We did a play, The Alamo, that was just like a big war scene. We did one called The Five Maseratis, that all took place in these Maseratis. When I look back, it seems kind of static, because everybody was just sitting in these cars. I always cast myself as the hero. Maybe that was the reason I wanted to do them.”

“I didn’t know what I was going to do, maybe…advertising?” says Dallas-native Owen Wilson, also 29. “I guess movies seemed impossible. It seemed so far away and so difficult to break into.” Anderson and Wilson met at the University of Texas. Anderson was not wearing a monocle, as Wilson claims, but they shared prep-school backgrounds and a similar sense of humor. And, Anderson says, just as “we might think the same things are funny, we might think the same things are sad.”

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Texas Monthly, May 1998

They’re not yet thirty, but they’re playing with the big boys.
by Pamela Colloff

On an overcast afternoon this past winter, a crowd of autograph hounds and hangers-on stood in silent reverence outside Don’s barbershop in Houston, craning for a view of the star rumored to be shooting a film inside. Across the street, while traffic crawled past the white trailers and frenzied production assistants cluttered the sidewalk, gawkers stood on the hoods of their cars, squinting under the white-hot floodlights. But it wasn’t comedian Bill Murray at the center of the disarray; unbeknownst to the crowd, he had already shot his scenes and flown back to New York. Rather, it was Wes Anderson, the gangly 29-year-old director and co-writer of Rushmore, who was pacing the barbershop floor and running his pale hands through his unruly thatch of hair. Wearing a slouchy green cardigan, faded corduroys, and Converse All-Stars, he looked more like a distracted graduate student who had wandered onto the set than someone shooting his second feature for a major studio.

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