An interview with Life Aquatic animator Henry Selick (no mention of Wes or TLA, sadly).
Selick’s new film Coraline debuts in December. He was scheduled to work with Wes on The Fantastic Mr. Fox, but scheduling conflicts with Coraline prevented a second collaboration.
Wes was mentioned in a recent article in The Guardian (U.K.):
Soundtracks and musical scores fit a specific purpose. However, what I find interesting are scores that go beyond their specific purpose and take on multiple lives.
Film soundtracks have always had the power to impact culturally. From the obvious: Ennio Morricone’s theme to the Good, the Bad and the Ugly, or dialogue from Scarface – to the less obvious: Wes Anderson reusing Sven Libaek’s Shark Theme in the Life Aquatic (a score that in turn found itself on a Volvo Advert).
Using a film sample or being under the influence of a score will almost always result in the adjective “cinematic” being used to describe a band’s sound. It’s a rich tradition in hip-hop, rock and dance, and I enjoy the approximation and interpolation of movies and music (link).
Friend of the site and contributor Derek Hill discussed the musicology of Wes Anderson in a recent guest blog post.
In the September issue, Paste Magazine choses Dr. Nelson Guggenheim (Brian Cox, Rushmore) as their third favorite cinematic high school principal (vote for Dr. G in their poll!).
