Death and Dying in the Films of Wes Anderson

From Peter Tonguette’s new series on grief and mourning in film:

When I decided to have a look at Wes Anderson’s films for the first time since my father’s death, I wasn’t sure what to expect. In my mind’s eye, I pictured nothing but the joyous derring-do of Anderson’s protagonists, like Max Fisher leaving a case of bees in Herman Blume’s hotel room or Raleigh St. Clair listening to a private investigator’s report on his wife Margot Tenenbaum’s extramarital activities. As far as I was concerned, these movies represented the same thing Bringing Up Baby did: a happier time, now lost.

Read more at Press Play.  Thanks to Matt Seitz for sending this along.

Video: Regular Show homage to Rushmore

From Cartoon Network’s Regular Show.

Thanks to Words of Wes for the lead.

Links for 29 May 2011

Every line matters. Send links to edwardappleby@yankeeracers.org.

Rushmore and Team Zissou pins

Some cool Wes-inspired pins on Etsy, for students at the Rushmore Academy and members of Team Zissou.

P.S. Do you ever wish you could breathe underwater?

Max Fischer Wrote The Life Aquatic

A new Tumblr blog theorizes that Max Fischer, a student at Grover Cleveland High School, wrote the Wes Anderson dramedy The Life Aquatic with Steve Zissou. The investigator/blogger writes:

The Life Aquatic is half-play, half-movie – the sets are elaborately designed and sometimes low budget, but retain much of Max’s earlier fascination for spectacle and adult themes.

This isn’t the first time that TLA’s origins have been wondered about, out loud. Zissou scholars at the Yankee Racers Aquatic Institute have postulated at TLA is in fact a movie within a movie.

Happy Father’s Day

Happy Father’s Day from our dysfunctional family to yours…

Season’s Greetings (video)

Michael Chabon’s “The Amateur Family”

Michael Chabon has been making the rounds for his new book Manhood for Amateurs. He read a piece, “The Amateur Family,” at the Union Square (N.Y.C.) Barnes and Noble:

Perhaps there is no perfect word for the kind of people I have raised my children to be: a word that encompasses obsessive scholarship, passionate curiosity, curatorial tenderness, and an irrepressible desire to join in the game, to inhabit in some manner—through writing, drawing, dressing up, or endless conversational riffing and Talmudic debate—the world of the endlessly inviting, endlessly inhabitable work of popular art. The closest I have ever come for myself is amateur, in all the best senses of the word: a lover; a devotee; a person driven by passion and obsession to do it—to explore the imaginary world—oneself. And if we must accept the inevitable connotation of hopeless ineptitude that amateur carries, then at least let us stipulate that we shall be hopeless and inept like Max Fischer, the hero of Wes Anderson’s Rushmore: in the most passionate, heedless, and whole-hearted way.

Francis Ford Coppola = Max Fischer

francis-ford-coppola-0809-lg-2

From the Esquire interview with Francis Ford Coppola:

When I was sixteen or seventeen, I wanted to be a writer. I wanted to be a playwright. But everything I wrote, I thought, was weak. And I can remember falling asleep in tears because I had no talent the way I wanted to have.

Did you ever see Rushmore? I was just like that kid.

July Wes Anderson Film Festival in Dover, OH: next up, Rushmore

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