- Above: “What Kind of a Bird Are You?” 1 of 6 in a series by Paperbeatscissors
- 20 minutes of Behind of Scenes footage from the Moonrise Kingdom set. Also, cast and crew interviews with Edward Norton, Bruce Willis and more.
- Tickets for Cannes opening night film sell out.
- Google+Hangout Session offers Roman Coppola’s floating head.
- American singer-songwriter Rocky Votolato adds a Wes Anderson classic to his top 5.
- The Agony and the Ecstasy of Wes Anderson
- If you’re in Edinburgh, you should be gearing up for the We Heart Wes Retrospective starting May 17
- Chicago’s Gallery 27’s first show will be Futura: An art show tribute to Wes Anderson on June 2. (Miranda Dressler’s Fantastic Mr. Fox screenprint will be in the show.)
While we anxiously await the Moonrise Kingdom soundtrack release on May 22, we’ve created this Spotify playlist with all of the available tracks to hold you over.
The first details of the Moonrise Kingdom soundtrack have been released by ABCKO Records, the company that also released the soundtracks to The Darjeeling Limited and Fantastic Mr. Fox. The soundtrack, which is due to be released on May 22, will feature Françoise Hardy, Hank Williams, Alexandre Desplat, music performed by Leonard Bernstein and the New York Philharmonic, and classical composer Benjamin Britten, whose majestic choral opera “Noye’s Fluddes,” evidently “ignites the film’s young lovers.” No stranger to Wes Anderson films, Marc Mothersbaugh also contributes a track.
The soundtrack is available for pre-order on Amazon, but does not yet have a soundtrack listing.
Françoise Hardy’s Le Temps de l’Amour was featured in the first trailer for Moonrise Kingdom, so no surprises there. The mix of the French Yé-Yé with American country and classical compositions would be strange in anyone else’s film, but it seems quintessentially Wes.
Wes Anderson favorite Mark Mothersbaugh recently sat down for an interview with Splitsider to talk about his time spent on Rugrats, his musical inspirations, and his song-writing process.
He also touched on the process of working with Wes:
“It was interesting,” Mothersbaugh continued. “Rarely are you involved that early in a project unless it’s a stage show, like a musical or something.”
The only other director that took this approach with Mothersbaugh, according to the composer, was Wes Anderson. “He sat in the studio with me and would be writing the script. And he’d say, ‘You know, I’m thinking about putting a composer on the boat with everybody. What kind of equipment would he be using? What kind of keyboards and recording equipment would he be using?’”
Noting that such a multi-disciplinary and collaborative way of working has only happened to him “a few times,” Mothersbaugh confessed that normally “you’re almost an after-thought on a lot of films. It’s the nature of the beast.”
Read the rest of the interview over on Splitsider.
(Photo of Mark and Wes after The Life Aquatic screening with BMI executives from here.)
Seu Jorge recently stopped by Amoeba Records in Hollywood to participate in their “What’s in My Bag?” series. He has some cool picks. You may remember the series previously featured Jason Schwartzman. Jorge’s most recent album is Músicas para Churrasco, Vol. 1, and he’s currently the coolest man alive.
We’ve been off for a month, and for The Musical Wes Anderson‘s triumphant return we’re going back all the way to a seminal moment in Wes’ very first feature film.
After a brief Holiday break we’re back with the third installment of The Musical Wes Anderson, this time with a musical triptych by The Kinks.
In the second installment of our on-going weekly series The Musical Wes Anderson we stay in Europe, and take a look at a plaintive folk hit.
Part of the reason for our lack of posts is because there’s not a whole lot to report on at the moment in the world of Wes Anderson.
With that in mind, The Rushmore Academy is proud to present our new series: The Musical Wes Anderson.
Each week we’ll post at a song featured in one of Wes’ works, whether they be films long, films short or commercial advertisements and we’ll take a look at the history of the song, its use in the Anderson work, and a whole bunch of other tangential stuff and what not that we come up with that week.
For the first part in our (presumably endless) series let’s take a look to the past, all the way December 2008.
The Playlist blog has uncovered (via Film Music Reporter) a new release of Alexandre Desplat’s Academy Award nominated score from Fantastic Mr. Fox. The collection features unused music from Desplat’s score, recorded at the famous Abbey Road studios. You may remember that a a similar, albeit unofficial release was done of Mark Mothersbaugh’s music for The Royal Tenenbaums and The Life Aquatic was done during the awards campaign, and that there was an official release of the Seu Jorge sessions done for the latter film aswell.
You can see a full tracklisting, along with links to purchase the collection, after the break.