Wes Anderson

Wesley Wales Anderson (born May 1, 1969, in Houston, Texas) is an American writer, producer, and director of films and commercials. He attended St. John's School, a private school in Houston, which was later used as a filming location for Rushmore. Anderson then studied philosophy at the University of Texas, where he met future collaborator Owen Wilson.

Films

Films directed by Anderson are full of subtleties, and often need to be seen several times in order to be appreciated. Common among all his films is the complete absence of major villains: his characters may be misguided and might cause others pain, but are always without malice. The lack of traditional antagonists prompts Anderson's characters to interact with each other in a more intimate fashion, locating their problems within themselves and their beloved friends or family rather than in enemies to be defeated.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Anderson cites his influences as including in particular French New Wave directors such as François Truffaut and Louis Malle, with whom his films share vivid characterization and a tragicomic sensibility: Anderson's works are considered comedies, though they appeal to an acquired sense of humor. Those who acquire this taste become avid fans and look forward to the release of each new film. Contemporary works with similar philosophies of story and character interaction might include Jeunet's Amélie (2001) or, less obviously, Sofia Coppola's Lost in Translation (2003).

Related Topics:
French New Wave - François Truffaut - Louis Malle - Jeunet's - Amélie - 2001 - Sofia Coppola's - Lost in Translation - 2003

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Anderson's more recent films, notably The Royal Tenenbaums (2001) and The Life Aquatic with Steve Zissou (2004), have a pageant-like feel. The camera remains stationary in many instances, allowing the audience to study the focus of the scene. The scenes themselves are framed with detailed props, background characters, and vibrant colors, all of which support and enrich the main characters and their emotionally open dialogue. Anderson is also adept at incorporating elements of theater into his films, such as the plays and scene cues in Rushmore and The Royal Tenenbaums or the elaborate sets of The Life Aquatic. Anderson's multifaceted pictures are complemented by the work of composer (and Devo singer) Mark Mothersbaugh, who wrote instrumental tracks for Bottle Rocket (1996), Rushmore, The Royal Tenenbaums, and The Life Aquatic. Actor and musician Seu Jorge also contributed to the soundtrack for The Life Aquatic with live acoustic renditions of David Bowie songs in Portuguese.

Related Topics:
The Royal Tenenbaums - 2001 - The Life Aquatic with Steve Zissou - 2004 - Rushmore - Devo - Mark Mothersbaugh - Seu Jorge - David Bowie

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Anderson's films can also be seen in terms of the themes of grace, forgiveness, and reconciliation. No one—not even a washout like Herman Blume or Steve Zissou (Bill Murray in Rushmore and The Life Aquatic) nor a deceitful schmuck like Royal Tenenbaum (Gene Hackman in The Royal Tenenbaums)—is beyond redemption. Anderson's characters are separated by all kinds of barriers, but the barriers are gradually overcome as they recognize the flaws and true desires in themselves and others. Typically, an Anderson film ends with several different narrative threads being resolved, relationships being restored, and things both trivial and significant being brought back to their rightful places.

Related Topics:
Grace - Forgiveness - Reconciliation - Bill Murray - Gene Hackman - Redemption

~ ~ ~ ~ ~ ~ ~ ~ ~ ~

Also of note: each Anderson film involves some characters in uniforms or jumpsuits, and each film ends in slow-motion.

~ ~ ~ ~ ~ ~ ~ ~ ~ ~