Wes Anderson Quotes
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The kids are the ones that have a clarity about what they want. They don't have any wisdom, but they do have a clear understanding about what they want to have happen.
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I want to try not to repeat myself. But then I seem to do it continuously in my films. It's not something I make any effort to do. I just want to make films that are personal, but interesting to an audience. I feel I get criticized for style over substance, and for details that get in the way of the characters. But every decision I make is how to bring those characters forward.
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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.
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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.
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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.
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I've always loved stop motion animation and I particularly wanted to do stop motion with puppets that have fur, for whatever reason that is.
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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.
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The animators bring their own spontaneity to it as well, because when they do a take of a shot it really is like just one continuous activity for them. They launch into it and do it, and they're not even quite sure how it's going to turn out when they're doing it. They're sort-of sculpting their way through a scene and trying to make this inanimate object alive.
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I love working with actors. That's what the set really is, for me. It's my time with the actors.
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A lot of people have said my movies are all the same. But I don't actually make an effort to have a style. I'm usually just thinking of what can we do to make it funnier or more interesting or just kind of refine it and it ends up like that.
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If I have ideas, I want to put them in the movie. It's not a minimalist approach at all but I feel like it's for the audience. It's about seeing how much texture we can give it and seeing how many things are there for people to latch on to... I just want to do it the way I want and I feel like it won't be helpful for me if I start worrying about that. I just have to follow my instincts. Everyone is going to respond differently to it and everybody's right - that's their point of view. That's how the story intersects with their lives.
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The only thing that takes away from it is when they steal some music from one of my movies and put it in a TV commercial. I am not crazy about influencing TV commercials. But if I legitimately influence someone making a movie, I think that is really flattering.
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A prototype is always more expensive than anything.
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The subject of an outsider who becomes obsessed.
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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.
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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.
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the one thing I've observed over the years is the best way to get an actor to not want to play a certain role is to offer it to them. That makes them say, "Well, maybe it's not that good. These guys don't want me to do this..."
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Working with kids is usually very fun. They get so into movie and they're up for anything. Usually they're having such an exciting experience, everybody feels that.
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I'm very sorry for your loss. Your mother was a terribly attractive woman.
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I don't really look for challenges as much as I like adventures. Other than that I'm just trying to find stories I want to tell.
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I just now put Robert Altman down feeling heartbroken but happily and deeply inspired. . . . Wonderful.
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You don't do background music the way a lot of more conventional films do. The music is often kind of a character in your films to the extent that sometimes you stop and watch someone perform a song.
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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.
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With each movie I have a different set of inspirations.