Wes Anderson

"With a distinctive visual style that steers clear of the gross plagiarism of many post-Tarantino thirty-something directors, Anderson sets himself apart from most of his contemporaries. His work is as refreshing and visually inspiring as any Coen brothers' film and restores faith in the idea that Hollywood can still produce an idiosyncratic black comedy once in a while." - Peter Homden (Contemporary North American Film Directors, 2002)

Wes Anderson

Director / Screenwriter / Producer
(1969- ) Born May 1, Houston, Texas, USA
Top 250 Directors / 21st Century's Top 100 Directors

Key Production Country: USA
Key Genres: Comedy, Comedy Drama, Coming-of-Age, Farce, Ensemble Film, Crime Comedy
Key Collaborators: Robert Yeoman (Cinematographer), Scott Rudin (Producer), Bill Murray (Leading Character Actor), Owen Wilson (Character Actor/Screenwriter), Jason Schwartzman (Leading Character Actor), Mark Mothersbaugh (Composer), Barry Mendel (Producer), Jeremy Dawson (Producer), David Moritz (Editor), Anjelica Huston (Leading Character Actress), Luke Wilson (Leading Character Actor), Alexandre Desplat (Composer)

"As a visual stylist, Anderson has gotten progressively more inventive with each film, to the extent that some critics faulted The Life Aquatic for neglecting character and plot in favor of elaborately staged set pieces. Although the low budget naturalism of Bottle Rocket showed Anderson’s eye for detail and his command of deadpan long shots, the vibrant color schemes, creative editing, and jangling soundtrack of Rushmore were a surprise. The Royal Tenenbaums and The Life Aquatic further developed those attributes, revealing a baroque Pop bent that is not realist, surrealist, or magic realist. If anything, it recalls the fabulism of Terry Gilliam." - Jesse Fox Mayshark (Post-Pop Cinema: The Search for Meaning in New American Film, 2007)
"Few directors' films deserve the term "character-driven" more than Anderson's. His films are also casting-, music-, mood- and even production design-driven (he works with more or less the same key production personnel every time), but whatever powers their engines, action and plot are but trace elements in the fuel." - Leslie Felperin (The Rough Guide to Film, 2007)
"King of literary geek chic on the silver screen, Wes Anderson emerged from the U.S. movie underground an almost ready-made savant. Remarkably quickly, his quirky, off-kilter films neatly established Anderson almost as a genre unto himself." - Joshua Klein (501 Movie Directors: A Comprehensive Guide to the Greatest Filmmakers, 2007)
"Houston native Wes Anderson’s idiosyncratic directorial style—marked by eccentric, colorful compositions and a fastidious attention to detail—seemed completely anomalous in the U.S. independent film landscape at the outset of his career. But it’s become such an influence on other homegrown auteurs that it’s beginning to look as archetypally American as apple pie." - The Criterion Collection
"Bolstered by the support of veteran director James L. Brooks and producer Polly Platt, Wes Anderson attained a status in the late 1990s that most young filmmakers only dream of achieving -- he proved that he could work within the Hollywood studio system and still create distinctive, willfully quirky films infused with an independent sensibility. Born and raised in Houston, Texas, Anderson was interested in filmmaking and performance from a young age, shooting crude Super-8 movies and staging elaborate school plays (including a hand-puppet adaptation of the 1980 Kenny Rogers vehicle The Gambler)." - Michael Hastings, Allmovie
"Noted for droll comedies that ruminated on loss, parental abandonment and sibling rivalry, director Wes Anderson emerged onto the filmmaking scene with the ultra-low budget Bottle Rocket (1996), which earned him considerable attention inside the industry and drew immediate comparisons to auteurs like Woody Allen and Jean Renoir. With Rushmore (1998), Anderson established himself as a critical darling, employing a deft mix of wry humor and subtle poignancy set to eclectic soundtracks." - Turner Classic Movies
"Let’s get this out of the way right from the top: Wes Anderson has never made a bad movie, and — in all likelihood — he probably never will. He’s too particular, too immaculate, too in command of his craft." - David Ehrlich (IndieWire, 2017)
"If his first two films and the one that followed in 2001, The Royal Tenenbaums, suggested the work of an extraordinarily sensitive and sophisticated hothouse talent, Anderson’s two subsequent films, The Life Aquatic with Steve Zissou (2004) and The Darjeeling Limited (2007)—both of which were shot on location, under challenging conditions, one at sea in a Second World War-era minesweeper and the other on a moving train in India—revealed a more intrepid aspect of his nature. In these movies, Anderson emerged as an heir to the likes of Ernest Hemingway and Howard Hawks, rugged adventurers whose daring exploits were matched by their dandyish style statements. " - Richard Brody (The New Yorker, 2009)
"The idea is to make this self-contained world that is the right place for the characters to live in, a place where you can accept their behaviour." - Wes Anderson
TSPDT Guide
Highly Recommended
The Royal Tenenbaums (2001) , Fantastic Mr. Fox (2009)
Recommended
Bottle Rocket (1996), Rushmore (1998) , The Life Aquatic with Steve Zissou (2004) , The Darjeeling Limited (2007) , Hotel Chevalier (2007), Moonrise Kingdom (2012) , The Grand Budapest Hotel (2014)
Acclaimed Films / IMDB Filmography
1,000 Greatest Films 21st Century's Most Acclaimed Films
Wes Anderson / Favourite Films
The Apartment (1960) Billy Wilder, Classe tous risques (1960) Claude Sautet, A Clockwork Orange (1971) Stanley Kubrick, David Golder (1930) Julien Duvivier, L'Enfance nue (1968) Maurice Pialat, Hannah and Her Sisters (1986) Woody Allen, Madame de... (1953) Max Ophüls, Moonstruck (1987) Norman Jewison, Murmur of the Heart (1971) Louis Malle, New York Stories (1989) Martin Scorsese, Francis Ford Coppola & Woody Allen, Rosemary's Baby (1968) Roman Polanski, Sweet Smell of Success (1957) Alexander Mackendrick, Terror's Advocate (2007) Barbet Schroeder, Trouble in Paradise (1932) Ernst Lubitsch, Who's Afraid of Virginia Woolf? Mike Nichols (1966).
Source: Konbini (2017)
Amazon Products
Films / Books
    The Royal Tenenbaums
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