![]() Grand Budapest Hotel was nothing if not a feast visually and its assortment of candy-colored styles earned it a quartet of technical Academy Awards while it also competed for some of the highest regarded Oscars around. Production design and cinematography, two facets low on the list of concerns for Anderson’s earliest effort, have grown clearly and considerably in interest to him. And without compromising or aiming for mass appeal, Anderson came upon some inexplicable success on 2012’s Moonrise Kingdom, a breakout summer indie and Best Original Screenplay Oscar nominee. But instead the filmmaker kept doing things his own way, even after moving from Disney’s waning Touchstone Pictures arm to Fox Searchlight amidst declining returns. His distinctive flair could have injected welcome flavor into any number of commercial pictures. ![]() Brooks (who produced Bottle Rocket), Martin Scorsese (who named Bottle Rocket one of the best films of the ‘90s in an episode of Roger Ebert’s show), and power producer Scott Rudin (who backed every Anderson film this century until his legacy of workplace abuse got him cancelled).īy the early 2000s, Anderson could have mixed things up and taken a for-hire gig. ![]() Those who knew Anderson’s work generally liked it and that included industry individuals with clout, like James L. They also were modest performers commercially, barely playing in other parts of the world no matter the star power assembled within, which had risen along with the Wilson brothers' profile. ![]() They were striking and quotable and better on every repeat viewing. That Anderson, the bespectacled Texan who was a close friend and collaborator to brothers Owen and Luke Wilson, had an abundance of passion and talent and was able to channel them into funny/sad tales of flawed Americans from various walks of life. In fact, Anderson’s previous live-action film, 2014’s The Grand Budapest Hotel, brought him the most recognition and biggest audience of his 25-year career to date.īut the Anderson who wrote and directed Budapest and his latest effort, The French Dispatch, bears virtually no resemblance to the witty auteur who gave us Bottle Rocket, Rushmore, and The Royal Tenenbaums in his late twenties and early thirties. No, writer-director Wes Anderson is not dead. It is with a heavy heart that I must report that one of my favorite filmmakers of the turn of the millennium is no longer with us. Berensen), Léa Seydoux (Simone), Frances McDormand (Lucinda Krementz), Timothée Chalamet (Zeffirelli), Lyna Khoudri (Juliette), Jeffrey Wright (Roebuck Wright), Mathieu Amalric (The Commissaire), Stephen Park (Nescaffier), Bill Murray (Arthur Howitzer, Jr.), Owen Wilson (Herbsaint Sazerac), Bob Balaban (Uncle Nick), Henry Winkler (Uncle Joe), Lois Smith (Upshur "Maw" Clampette), Tony Revolori (Young Moses Rosenthaler), Larry Pine (Chief Magistrate), Christoph Waltz (Paul Duval), Rupert Friend (Drill-Sergeant), Liev Schreiber (Talk Show Host), Willem Dafoe (Albert "The Abacus"), Edward Norton (The Chauffeur), Saoirse Ronan (Showgirl #1), Jason Schwartzman (Hermès Jones), Fisher Stevens (Story Editor), Griffin Dunne (Legal Advisor), Wally Wolodarsky (Cheery Writer), Anjelica Huston (Narrator) Writers: Wes Anderson (story & screenplay) Roman Coppola, Hugo Guinness, Jason Schwartzman (story)Ĭast: Benicio del Toro (Moses Rosenthaler), Adrien Brody (Julian Cadazio), Tilda Swinton (J.K.L. ![]()
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