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s0022374a2film-blog · 7 years

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Post R: CI Planning- Collated Quotes

Collated Relevant Quotes

In preparation for my Essay, I reviewed the quotes that I had found in each of my secondary sources, and identified those that would be most relevant in answering each of my three subtopics, and in proving or disproving my hypothesis.

My Subtopics:

1-Does Anderson have a prominent style and to what extent does this coincide with the features of post-modernism, thus affecting his portrayal as an auteur?

2 -How effectively is the theme of relationships portrayed in Anderson’s work?

3 -Anderson works with collaborators in almost all processes of creating his films, does this affect his standing as an auteur?

Quotes for Subtopic 1:

‘Equally, the need to create an entire world from scratch, right down to the finest detail, was something that suited Anderson. “it requires that you manufacture anything you think of”’ … ’”Then you can say: ‘It can look exactly like this and it would be nice if printed across it is that’”’ [Source1: s & s]

‘There’s usually some can or box of very bright scarves, and you tie them on. Well, everybody does it their own way.’…’the costume department had prepared these special tie things, and I was a little upset. ”You guys come in, you take the things out of the boxes- and put them on your heads your way. You do what you do.” And they each had some very strange way of doing it’…’and their personalities come through in that.’ [Source2: TWAC]

‘the way they [Suzy and Sam] cling to their books and records as if they’re driftwood in a stormy sea was also drawn from the director’s childhood. “I thought these two kids ought to have these talismans. When I was about that age I had objects which were crucial to me. I had this bag of Pilot Fineliner pens and a Zulu necklace from the New Orleans Mardi Gras and I carried them everywhere.” [Source3: Empire Magazine]

‘Anderson’s visual style is also often self-reflexive, drawing attention to the very act of looking. He is renowned for using perfectly centred shots and symmetrical compositions [Source4: The Conversation]- post modernism

We could perhaps counter claims that Anderson is worthy of auteur status. As a visual director, the characters he writes and the stories they occupy can be seen as rather one-dimensional and wooden – though ironically this is arguably one of his tropes.Anderson’s cinema could be said to be a triumph of style over substance, full of allusions that do not go anywhere deep or meaningful [Source4: the conversation]

‘This unbroken take encapsulates Anderson’s unbroken aesthetic: precise décor, costuming, and lighting, plus intricately choreographed camera work, capturing a moment that’s serious but not self-serious, and interrupted by a burst of cheerful, childlike anarchy’. [Source5: TWAC:TGBH]

All you have to do is look at his movie to know that his is the most meticulous style,’ … ’You’re agreeing to be part of his style, and his style is very visually precise, with shots that are very composed’ [Source5: TWAC:TGBH]

‘A mess of memories from his school days – appearing as an otter in a production of Noye’s Fludde, fantasising about running away with a girl in his class – would ferment for decades before providing material for Moonrise Kingdom. [Source7: The Guardian]

‘When you have a voice as unique as Anderson’s, Brooks said, “the voice must be served; all other exit doors, marked ‘expediency’ or ‘solid career move’, are sealed over [Source 7: The Guardian]

‘Every Wes Anderson film showcases a specific colour palette which establishes the text’s tonal quality.’ … ‘The Darjeeling Limited: bright yellow and pastel blues and browns; Moonrise Kingdom: blues, yellows and maroon and The Grand Budapest Hotel: pinks, beige and pastel blues.’ The use of clothing intertwines with this too, all significant costumes conforming to a simple primary colour palette and, in their simplicity, contributing to the individuality of the text. [Source9: Wordpress]

‘Wes Anderson’s irony is undirected, suffusive, and ambiguous, coming across less as a humorous practice and more as a contemporary condition or mood. As such, it is especially appropriate to the early 21st century. [Source10: MTV the new Auteur]

Much of Anderson’s films, in keeping with the auteur theory, is a self-reflection of his childhood (Mayshark, 2007, p. 115). His stylistic choices and thematic elements of his original screenplays are portrayed through his lens as if he were a character. [Source11: Color theory]

Quotes for Subtopic 2:

It’s heartening to see the difference between their disastrous first attempt at the feather ceremony, in which Francis expresses disappointment that no-one followed his script, and the second, in which all three brothers improvise and no one judges the others. [Source2: TWAC]

Anderson’s films are concerned with home and family ties: the old ones we do our best to escape from, and the new ones we build for ourselves in an attempt to fill the gap [Source8: The Telegraph]

‘Anderson’s films are all about family structure, its absence, its dissolution, its rebirth, and, above all, its eccentricity’ [Source11: La Camera Crayola]

The Darjeeling Limited, the three sons on the quest to find their mother find themselves at their father’s funeral, with whom they were not close. … After his death, his sons both covet and resent the car because of the void it represents in their lives and how they could never live up to the esteem of the vehicle itself. ‘ [Source12: Color Theory]

Social structure is one such large focus, as well as familial structures and intergenerational bonds and rivalries. Much of his work focuses on parents’ relationships with their children.’ [Source12: Color theory]

Quotes for Subtopic 3:

Anderson explored what you might call Method screenwriting. With collaborators Jason Schwartzman and Roman Coppola, who co-scripted, he lived the film in advance, acting out scenes in promising locations. “We went on this voyage of our own, discovering and gathering all sorts of things that made their way into it.” [Source3: Empire Magazine]

On a production level, Anderson maintains a number of core collaborations, generally working with the same cast and crew.’…’Such collaborations work in favour of the auteur approach because they suggest that a great director is able to marshal the activities of a creative ensemble, and is able drive an artistic team to fulfil their own vision.’ [Source4: The Conversation]

‘On a Wes Anderson film, you come knowing what you’re in for; a lot of the actors knew exactly what to expect. All you have to do is look at his movie to know that his is the most meticulous style,’ … ’You’re agreeing to be part of his style, and his style is very visually precise, with shots that are very composed’ [Source5: TWAC:TGBH]

These films are no walk in the park to make. Yet you see how many people come back, time and again. [Bill Murray has appeared in all of Anderson’s films since Rushmore; there are many other regulars.] Wes has a theory that because making a film takes up such a chunk of your life, the process should be enjoyable.“’ – Jeremy Dawson [Source7: The Guardian]

Over the past 18 years Anderson has collected a surrogate family of collaborators: Bill Murray, Owen Wilson, Adrien Brody and Anjelica Huston are among them, and they mostly keep coming back for more.’… ‘Why? His consistency as a filmmaker may be a factor, which is another way of saying they pretty much know what to expect. Nothing in Anderson’s work looks as if it has been left to chance. [Source8: The Telegraph]

‘Anderson’s strategy to foreground the collective has, interestingly, buoyed his reputation as auteur’ [Source11: La camera crayola]

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