Zitat des Tages von Wes Anderson:
I guess when I think about it, one of the things I like to dramatise, and what is sometimes funny, is someone coming unglued. I don't consider myself someone who is making the argument that I support these choices. I just think it can be funny.
I have a way of filming things and staging them and designing sets. There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting.
I wouldn't say that I'm particularly bothered or obsessed with detail.
The subject of an outsider who becomes obsessed.
Sometimes when you're editing a movie, you have the thing that you don't expect - which is you make it longer and longer as you go along.
My experience with casting children is that... the whole movie is going to rest on their shoulders, so you have to set aside time and wait for the perfect people to appear.
I don't know what is in store for the movie business any better than anybody else does, but it does seem like my kind of movies are a little trickier than it used to be - or maybe a lot trickier.
I will say that Edward Norton, who plays the scout master, would be a first-rate Eagle Scout. He's got all those techniques. If your plane crashes into the jungle somewhere, he would be the guy you would want to have with you.
I've never had a movie that got great reviews. I've had movies that got different levels of good and bad reviews, but you can more or less count on plenty of bad reviews.
Usually when I'm making a movie, what I have in mind first, for the visuals, is how we can stage the scenes to bring them more to life in the most interesting way, and then how we can make a world for the story that the audience hasn't quite been in before.
On Fantastic Mr. Fox, I got used to working with animated storyboards as a way of planning for the shoot. We did a lot of sequences that way with this movie. Partly as a result of that, I decided to build more sets in order to do certain shots.
There's no story if there isn't some conflict. The memorable things are usually not how pulled together everybody is. I think everybody feels lonely and trapped sometimes. I would think it's more or less the norm.
Paris is a place where, for me, just walking down a street that I've never been down before is like going to a movie or something. Just wandering the city is entertainment.
I usually set aside a lot of time in advance of a movie with important roles for kids to search, but when you have great ones, they can be a real ace in the hole.
Every time you do a take on a movie, you're not sure if it's going to succeed. Even if you have a great cast, like we had, every scene you're kind of waiting for the release. 'Oh, yes; it happened. We got it!' There's always the possibility that it's just not going to work.
When I see the first dailies on any movie, I usually feel that I had no idea how this combination of ingredients was going to mix together, what it was going to produce.
And Hackman had really choked up when he was telling it. It was very moving.
I'd never heard anything about this at all.
Any romantic feelings for a 12-year-old are like entering into a fantasy world.
That's the kind of movie that I like to make, where there is an invented reality and the audience is going to go someplace where hopefully they've never been before. The details, that's what the world is made of.
