![]() ![]() We were all sleeping in the same room for warmth.” In fact I got double pink eye one time during the winter staying with Owen and Luke and I think Wes might have been staying in one of the rooms or it might even have been in the same room with us. And I said, ‘So, we’re gonna go get him at the airport?’ And they said, ‘No, he’s coming here to where we lived.’ We lived in, this place was a hovel, it was a really squalid place. ![]() At the time they were all living together. Brooks, an executive producer with his company Gracie Films, to visit Anderson and the Wilson brothers. The final film managed to get into Sundance film festival in 1994, where Anderson and Wilson also attended their lab.Ī family friend of the Wilson family, whose three brothers starred in the short, managed to get a copy of the film as well as the script for the feature length version to producer Polly Platt.Platt organised for James L. Due to their inexperience in producing they ran out of money after shooting 8 minutes worth of footage. However those 8 minutes were enough to secure the additional funding to finish the 13 minute short. They convinced indie producer Cynthia Hargrave to fund their $4,000 short. But I do find that I manage to keep a consistent run of just that kind of response.”Īfter graduating in 1990, Anderson and Owen Wilson decided to write and shoot their own black and white short film called Bottle Rocket. “It’s odd in that it’s a movie where some people really do like it quite a lot and so many others really hate it. In this episode I’ll dive into three films by Wes Anderson - Bottle Rocket, Rushmore and The Grand Budapest Hotel - which he shot at three increasing budget levels - to uncover the similarities between them and how his career and style as an auteur has progressed over time. His movies are fast-paced comedies, punctuated by melancholic moments, deadpan performances, symmetrical compositions, a limited colour palette, with themes of family dysfunction, unlikely friendships, parental abandonment and loss of innocence, which unfold in their own uniquely contained world - almost like a fable. Like the incremental changes in budget, his directing style has also changed incrementally over his filmography. However it has been bound since day one by common stylistic traits which make all of Anderson’s films easily identifiable. Unlike some of the directors who I’ve covered in this series that have undergone large changes in their shooting budgets, Wes Anderson is a director who has seen more minor, incremental changes in his film around the medium budget range. ![]()
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