One-Question Q&A

1QA: Wes Anderson on Fantastic Mr. Fox

Alex Moore :: Monday, November 16th, 2009 1:30 pm

Whether it’s his use of The Who in Rushmore, Nico in The Royal Tenenbaums or Sigur Ros in The Life Aquatic, you hear it time and again about Wes Anderson’s movies: “Such great music!” His latest Fantastic Mr. Fox is no exception, but this time there’s a twist:

I know music is important to you in shaping the foundation of your films — you once told me that Nico’s “These Days” was the nucleus that inspired The Royal Tenenbaums. What was the first song you knew you wanted to use in Fantastic Mr. Fox, and how did it shape your vision for the film as it unfolded?



Review: The Men Who Stare At Goats

Stephen Blackwell :: Friday, November 6th, 2009 2:45 pm

As a New Yorker, I see a homeless Vietnam vet begging on the street at least once a week, if not every day. It’s the war that destroyed presidencies, divided our country, and left a great deal of soldiers paralyzed, destitute, and drug-addled.

The social movements and public unraveling of politicians as a result of our country’s failure in Vietnam have been well documented in popular culture. Perhaps too much. But how Vietnam effected the military’s top brass has always been a bit of a mystery. Apparently Vietnam really spooked ‘em, so much so that they green-lighted programs to train soldiers to walk through walls, become invisible, control the minds of their adversaries, and kill goats by staring at them. MORE »


Film, News

Wes Anderson’s New Yorker Profile

Stephen Blackwell :: Tuesday, October 27th, 2009 3:00 pm

Wes Anderson is profiled in the November 2 edition of The New Yorker, which is on stands now. The profile is eight and a half pages long and is interrupted by seven pages of advertising. That’s almost a one-to-one ratio, so you know the profile is important. The article focusses on Anderson’s critical successes, his box office failures, which number three of five movies, and his experience working completely in stop animation on his new film, of which the production designer, Nelson Rowly, explained was filled with “unconventional choices.” What else should we expect?



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