Anderson Cited for Visionary Filmmaking

Wes Anderson will be awarded the Stockholm film festival's Visionary Award for his humane and humorous portrayals of lonely people.

Anderson director of offbeat comedies "The Royal Tenenbaums" and "The Life Aquatic With Steve Zissou" has created "unique and stylized universes inhabited by characters searching for something to search for," the prize citation said.

"Through his visionary filmmaking, Anderson has given a modern face to the classic auteur," organizers also said Wednesday.

The award will be presented during the Nov. 15-25 Stockholm Film Festival.

Anderson, 38, grew up in Texas. He had his feature debut with the comedy "Bottle Rocket" in 1996.

"The Royal Tenenbaums," starring Gene Hackman, Gwyneth Paltrow and Ben Stiller, earned Anderson an Oscar nomination for best screenplay together with Owen Wilson in 2002.

Anderson's latest film is "The Darjeeling Limited."

Source: www.cinema-pedia.com

Mainstream Success Eludes Short Film

The short has enjoyed a year of mainstream attention.

As a prelude to "The Darjeeling Limited," Wes Anderson created the 13-minute "Hotel Chevalier." Earlier this year "Paris, Je T'Aime" assembled 18 well-known directors to each make a short film set in a Paris arrondissement. And Pixar again released a highly anticipated animated feature ("Ratatouille") with a memorable short played beforehand ("Lifted").

Yet widespread popularity has proved elusive for the short film. While the short story remains a great tradition in literature, the cinematic equivalent is largely marginalized.

Shorts predate feature-length films and were the springboard to stardom for Buster Keaton and Charlie Chaplin, among others. (Pixar's shorts, typically without dialogue, are in the tradition of these comedy classics as well as the revered 1957 Bugs Bunny short "What's Opera, Doc?" by Chuck Jones.)

With the advent of sound, the short still played a key role in the theatrical experience as a cartoon, newsreel or travelogue.

"They used to be terribly important because they filled out a film program," says film historian and Turner Classic Movies host Robert Osborne. TCM often airs classic shorts, while contemporary shorts fill in the broadcasts for the Independent Film Channel and the Sundance Channel.

Osborne says shorts were also "a kind of wonderful screen test" for people behind and in front of the camera. (Judy Garland got her start in a short film at MGM titled "Every Sunday.")

Shorts, though, were eventually fazed out. They became an unnecessary expense to distributors, and theater owners would rather squeeze in as many showings of features as possible.

Aspiring filmmakers typically create shorts to practice and prove their ability. George Lucas's THX sound system, for example, is named after the sci-fi short he filmed at the University of Southern California: "Electronic Labyrinth: THX 1138 4EB."

Established directors rarely return to making shorts, which made "Paris Je T'Aime" an unlikely treat, drawing the talents of Joel and Ethan Coen, Alexander Payne, Walter Salles and others.

One of the appeals for filmmakers is the possibility for experimentation. Alfonso Cuaron's short in "Paris Je T'Aime," for example, is one long shot, starring Nick Nolte and Ludivine Sagnier.

Anderson spent his own money for the two-day shooting of "Hotel Chevalier," which many critics have enjoyed more than "The Darjeeling Limited." Though it may later be added to the theatrical run, "Hotel Chevalier" was released for free online on iTunes.

"I don't think you've seen the whole thing until you've seen them both," says Anderson. "If you're watching the movie without the short, I'd like it to just say: `See our short. It stars Jason Schwartzman and Natalie Portman.'"

Fox Searchlight, which is distributing "Darjeeling," announced Monday that "Hotel Chevalier" will be added to the film's theatrical run when "Darjeeling" expands nationally on Friday.

"Hotel Chevalier" also played at numerous film festivals, where it's customary for shorts to run before features.

"Theatrically, the only opportunity people have had (to see shorts) has been at film festivals," says Trevor Groth, who programs short film for the Sundance Film Festival. "But I've always been interested that at film festivals, the audiences that have the chance to see shorts, they love them. They can't get enough of them. It's always been curious that no one's been able to capitalize on that interest and excitement."

Groth says submissions spiked six or seven years ago when digital filmmaking equipment became relatively inexpensive. Submissions for next year's Sundance number about 5,200 approximately 1,000 more than last year.

The popularity of online video (sites like http://www.AtomFilms.com host short films, to say nothing of the amateur works on YouTube) has played a part in the increase, says Groth.

But he's still frustrated by the lack of distribution.

Groth says he's been approached by distributors that have been interested in putting shorts in front of features, "but they just haven't been able to figure out financially how that benefits them."

BMW had success with a 2001 and 2002 ad campaign titled "The Hire" in which the car company sponsored eight shorts by big-name directors including Ang Lee and Tony Scott. Music videos are also essentially short films used to promote an album.

"People watch shorts all day," says Mike Plante, a programmer for the CineVegas Film Festival and Sundance. "They watch a 5-minute music video, a 30-second commercial ... People are more used to watching shorts than features."

Of course, the theatrical experience has been much maligned in recent years, with increasingly dwindling attendance. Could shorts rejuvenate the specialness of going to the movies?

"Audiences would just have more fun because it's more bang for your buck," says Plante. "Distributors are thinking about anything that cuts into runtime, but there are 5,000 one-minute films that are great."

The Academy Awards still honor both live-action and animated shorts. (1956's "The Red Balloon" is the only short to win an Oscar outside of short film categories.) It's a moment in the ceremony when viewers typically tune out, totally unfamiliar with the nominated films.

"They're wonderful," says Osborne says of the yearly nominees. "They're amazingly good. It's heartbreaking to think that those things are not going to be in the theater and be seen by people."

Source: www.cinema-pedia.com

Wilson Attends Premiere of His New Film

Owen Wilson has returned to the public eye, making an appearance at the Los Angeles premiere of his new film, "The Darjeeling Limited." Sporting a shaggy blond beard and wearing a dark jacket, Wilson was joined by cast mates Adrien Brody, Anjelica Huston, Jason Schwartzman and filmmaker Wes Anderson. It was among Wilson's first public appearances since an apparent suicide attempt in late August.

The premiere was held Thursday night at the headquarters of the Academy of Motion Picture Arts and Sciences. "The Darjeeling Limited," now in theaters, is the story of three brothers who journey by train through India.

Before the movie started, Anderson introduced Wilson, his longtime friend and collaborator, saying, "I've never made a movie without him and I hope I never have to."

Anderson and Wilson have worked together on several films, including "Bottle Rocket," "Rushmore" and "The Royal Tenenbaums" for which they were nominated for a best screenplay Oscar

Wilson, 38, has also starred in "You, Me and Dupree," "Wedding Crashers" and "Starsky & Hutch."

Source: www.cinema-pedia.com

Owen Wilson Returns to Public Eye

Owen Wilson returned to the public eye Thursday night, making an appearance at the Los Angeles premiere of "The Darjeeling Limited." Sporting a shaggy blond beard and a dark jacket, Wilson was joined by fellow cast mates Adrien Brody, Anjelica Huston, Jason Schwartzman and filmmaker Wes Anderson. It was among Wilson's first public appearances since a suicide attempt in late August.

Before the movie started, Anderson introduced Wilson, his longtime friend and collaborator, saying, "I've never made a movie without him and I hope I never have to."

The two have worked together on several films, including "Bottle Rocket," "Rushmore," and "The Royal Tenenbaums" for which they were nominated for a best screenplay Oscar. Wilson stars in "The Darjeeling Limited," in which three brothers journey by train through India.

The premiere was held at the Academy of Motion Picture Arts and Sciences headquarters.

Source: www.cinema-pedia.com

Inside the World of Wes Anderson

Five films into his career, Wes Anderson's authorial stamp is manifest.

From 1998's "Rushmore" to his new "The Darjeeling Limited," the 38-year-old director's movies display a style so distinct as to be recognizable within a few dozen frames.

His actors are carefully arranged in a colorful, detailed palette, where every object and piece of costume is precisely considered. His movies are fables of exaggerated innocence, existing in a world of their own. But despite their humor and whimsy, they are pervaded by an aimless melancholy.

Anderson's aesthetic is so consistently conspicuous, some critics are beginning to feel suffocated. Though firmly established as one of America's top young filmmakers even considered a cinematic voice of a generation Anderson is self-conscious enough that he has occasionally questioned his ways.

"I've thought about it, but I've decided that I just can't" change, Anderson said in an interview. "I wouldn't be having that debate within myself if it weren't for the fact that I was reading somebody's review where they hated one of my movies."

One of Anderson's trademark tools is the poignant slow-motion shot, usually soundtracked with equally expressive music. Think of Jason Schwartzman's mischievous grin after unleashing a swarm of bees on Bill Murray in "Rushmore," or the family departing a cemetery in the last shot of 2002's "The Royal Tenenbaums"

"I've had the experience of deciding not to shoot a thing in slow motion because I was like, `You know, I've done too much of this,'" Anderson explained. "And then I had to go back and make it slow motion in (post-production) digitally. I just think if that's the way I think of it, then I'm just going to do it."

"The Darjeeling Limited" stars three brothers (Owen Wilson, Adrien Brody and Schwartzman) on a journey by train through India, where they are followed by literal and figurative baggage. For the director, the film reflects both his desire to expand beyond his past work and an acceptance to trust his instincts slo-mo and all.

Anderson, the middle of three brothers, grew up in Houston. At the University of Texas he met Owen Wilson, who was at first put off by Anderson's eccentric getup of duck-hunting boots and shorts.

Anderson is still uniquely stylish, generally dressing much like his characters with suits intentionally a few sizes too small. Gentle and affable, he has longish red hair and pale features that make him appear like the twin brother of Tilda Swinton.

He and Wilson became close friends and collaborators, co-writing Anderson's first three films: 1996's cult favorite "Bottle Rocket," "Rushmore," and then "Tenenbaums," for which they were nominated for best screenplay. Anderson credits the meeting of their sensibilities for much of the style still present in his films.

Wilson is currently recuperating after a suicide attempt in late August. His absence has loomed heavily over the promotion of "Darjeeling"; ironically, in the movie Wilson's character is eerily bandaged from what's eventually revealed to be a suicide attempt.

When asked about how Wilson's experience has made him feel about suicide in his films (Luke Wilson also slits his wrists in "Tenenbaums"), Anderson replied: "I'd rather have a conversation about that a few years down the line."

"Rushmore," still hailed as one of the best films of the `90s, was Anderson's breakout hit. No less than Martin Scorsese announced the emergence of a significant talent. In an Esquire magazine article titled "The Next Scorsese," the director compared Anderson to Jean Renoir and Leo McCarey, saying "he knows how to convey the simple joys and interactions between people so well and with such richness."

As Wilson developed into a full-fledged (and thus busy) movie star, Anderson found other collaborators. He co-wrote 2004's "The Life Aquatic with Steve Zissou" with director Noah Baumbach ("The Squid and the Whale"); they are working together again for "Fantastic Mr. Fox," an animated film planned for 2009.

For "Darjeeling," Anderson teamed with Schwartzman and Roman Coppola (son of Francis Ford) to pen the screenplay, an experience that included their own trip to India where the three lived through some of what became the film.

"I really value the family of collaborators that I've ended up working with," says Anderson, who also often works with actors Murray, Luke Wilson, and Seymour Cassel. "It's more fun to me to write with my friends."

"Life Aquatic" was Anderson's only failure, both commercially and critically. The result was magnified since it was his most expensive film, at nearly $60 million. The director says it was still "the movie we set out to make."

Though critical response to Anderson's films has never been unanimous, he seems to increasingly be a target even from, bizarrely, the band Steely Dan, who made news for posting a letter claiming his career is "suffering from a malaise." A critic for Slate.com claimed "Darjeeling" further revealed a latent racism in his work where whites are upper-class and nonwhites are poor.

Critical response to "Darjeeling" (which played at numerous international film festivals) has generally been positive. New York Times critic A.O. Scott called the film a "treasure," but he wrote that "humanism lies either beyond his grasp or outside the range of his interests." Associated Press critic Christy Lemire called it "a self-satisfied exercise in style over substance."

It's not a new critique for Anderson, who has heard his films described as insular and excessively meticulous in design.

"The only thing that I can do reliably is just say, `What do I think is the best thing for this scene? What is the story I'm most interested in telling?'" said Anderson. "Whenever I see the dailies, I'm always surprised: `So that's what it looks like when you make all of these decisions. It adds up to this.'"

Still, Anderson's stamp has been relatively relaxed on "Darjeeling." Rather than the exaggerated world of "Rushmore" or the fabulist New York of "Tenenbaums," it's set in a real-world India, albeit one seen through tourist eyes. The production was on-location, on a train borrowed and redesigned for the shoot.

"I wanted it to be kind of loose and free," said Anderson. "I don't know if that's the way people would read it at all, but that was really my thought."

Still, there's rarely a moment when "Darjeeling" could be mistaken for anything other than a Wes Anderson production.

"I like the idea that my movies can all go on a shelf together and they are connected," he says. "I'm perfectly fine if that's the case that they're of the same ilk in some way. There are plenty of other shelves that people can go to and I don't feel obligated to run the gamut."

Source: www.cinema-pedia.com

Review: `Darjeeling' Too Self-Satisfied

"The Darjeeling Limited," the latest self-satisfied exercise in style over substance from writer-director Wes Anderson, will amuse his cult followers as well as Anderson himself and his pals, of course but probably nobody else.

This time he has amassed old friends Owen Wilson and Jason Schwartzman, along with Adrien Brody, to play estranged brothers who bicker while barreling across India on a train, supposedly on a spiritual journey. They haven't spoken since their father's funeral a year ago and their mother (Anderson regular Anjelica Huston) has abandoned them to become a nun in the Himalayas.

But the brothers Whitman, like the film itself, end up running all over the place without ever going anywhere. As in "The Royal Tenenbaums" and "The Life Aquatic With Steve Zissou," Anderson seems more concerned with precious minutiae the quirky, kitschy clutter surrounding his eccentric characters, all of which he shoots head-on in wide angle than with developing people and scenarios that feel even vaguely real. (Anderson wrote the script with Schwartzman and Roman Coppola.) The bittersweet heart of 1998's "Rushmore" has long since left Anderson's movies and all that's left is a heart-shaped box, one that's obsessively detailed and exquisitely ornate not unlike the one-of-a-kind luggage set the brothers schlep around, which Marc Jacobs designed for Louis Vuitton especially for the film.

The suitcases literally and figuratively function as baggage for the Whitman brothers and how cute is that? pieces they inherited from their father which have become emblematic of their years of pent-up resentments. Now as grown men, the three can agree on the need for cigarettes and cheap, over-the-counter Indian painkillers and that's about it.

Francis (Wilson), the eldest, has organized this trip and meticulously planned every minute of it to include time for both bonding and sightseeing. To make sure they keep to the schedule, he's brought along his personal assistant, who prints out and laminates each day's agendas (because he's traveling with a printer and laminating machine, naturally), all of which seems like a tactic to avoid dealing with the motorcycle crash that's left him injured and may not have been an accident after all.

(The sight of Wilson with his face and head covered in bandages, his blue eyes swollen with bruises and tinged with sadness, is an uncomfortable, unfortunate reminder of the likable actor's recent real-life emotional troubles.)

Peter (Brody), in classic middle-child style, seeks to draw attention to himself by wearing his deceased father's sunglasses and insisting he was always the favorite son. In mere weeks, he's also about to become a father for the first time himself with the wife he's pretty sure he'll end up divorcing someday anyway a woman whom he inexplicably didn't bother to inform he was going on vacation to India. (It's these kinds of details, which feel so false, that make it hard to become truly immersed in Anderson's films.)

Finally there's Jack (Schwartzman), the youngest, a writer who's still so obsessed with his ex-girlfriend, he secretly checks the messages on her answering machine from wherever the brothers happen to stop along their journey. Jack can afford expensive, tailored suits but he wears no shoes. He's also selective in the songs he plays from his iPod to accentuate particular moments, yet he has an impulsive bathroom romp with a sultry train attendant (Amara Karan) before he even knows her name.

All these people are quirky constructs and none of them ever really evolves, even after "The Darjeeling Limited" takes a jarring, ill-advised serious turn. They sit side-by-side in cramped, colorful quarters, complaining in deadpan fashion and trying to keep secrets from each other. Every once in a while they get off the train and visit a marketplace, which is packed with different kinds of stuff (slippers, snakes, electronics).

But all that stuff, however distracting and obvious it is as a device, clearly required a ton of work, for which production designer Mark Friedberg deserves praise. (Longtime Anderson collaborator Robert Yeoman returns as cinematographer.) And every once in a while "The Darjeeling Limited" does have some lovely moments of subtlety: Peter running to catch the train in slow motion (always a favorite Anderson trick), or the brothers sitting around a campfire in the desert with Debussy's "Clair de lune" playing in the background, wondering whether they'd have been friends if they weren't related.

More intriguing than anything we see in "Darjeeling," though, is the short film that precedes it, starring Schwartzman and Natalie Portman, which takes place in a Paris hotel room and includes some details that become factors later. The two play former lovers reuniting awkwardly for the first time. Of course it contains all of Anderson's self-conscious visual flourishes but there's also a delicacy and intimacy about it, and a pathetic sweetness in Schwartzman's forced bravado, that make it instantly accessible and recognizable.

But you won't see "Hotel Chevalier," as it's called, in theaters. It's only playing before "Darjeeling" at film festivals and on DVD Anderson wants you to seek it out for yourself on the Internet beforehand. And that's not nearly as clever as he thinks it is, either.

"The Darjeeling Limited," a Fox Searchlight Pictures release, is rated R for language. Running time: 91 minutes. Two stars out of four.

Source: www.cinema-pedia.com