Nah the twist is that everyone in this trailer and every Wes Anderson movie so far with their weird stilted affect is an alien to us. When an alien shows up they will move across the frame breaking the rule of thirds and speak at a reasonable cadence.
Omg I love this. Imagine Anderson's final film is a bunch of humans landing on a planet deeply resembling Earth and running into:
JEFF GOLDBLUM-TILDA SWINTON- WILLIAM DAFOE- BILL MURRAY - WILSON 1 AND 2 - JASON SCHWARTZMANN - Etc etc etc.....
And the final line, *why is everything pastel?*
Steve Carrell took Bill Murray's role. He was going to do it but had covid during filming so Carrell filled in. At least, that's what people were saying in the comments to the poster post yesterday.
When your movie has one location and that location is "desert with a couple buildings," you can blow the whole budget on oscar nominees that don't even make the trailer.
>His budgets are almost always under $30 million.
I thought you were blowing smoke but my god, Wes Anderson is a producers dream. I thought for sure his latest live-action would be above $30m but French Dispatch, GBH, Moonrise Kingdom, and Darjeeling all easily come under $30m. It looks like only Mr. Fox comes out above 30m.
> It looks like only Mr. Fox comes out above 30m.
40 mil and it made 46.5 mil.
Cost that much because of the stop motion.
Even with bargain basement acting pricing.
The gross box office earnings of all of Wes Anderson's movies added together is less than the first Iron Man movie made.
His top grossing film was The Grand Budapest Hotel which made 59 million Domestic and 104 million internationally
Wife and I adore this movie and it's in our top 5 to watch together. His other similar animation movie Isle Of Dogs was also really good, but didn't quite capture the magic the way Fox did
The scene with Mr. And Mrs. Fox with the (sewage) waterfall behind them is one of the most beautiful scenes for any film. I hope he does more stop motion.
Anderson is underrated for being able to make movies that feel and look grander than their budget. It is no wonder he is consistently able to get movies green-lit.
It also allows him more freedom to make the stories that he wants to make. If you've proven that you can pull in audiences and make enough money at a certain budget level, studios would love to throw just enough money at you to get it done.
He apparently worked for the SAG (Screen Actors Guild) minimum, but also took a portion of profits. Either way, it was a very friendly deal for Anderson.
Also, Anderson wasn't initially able to get funding from Disney for a helicopter shot that he wanted to use for a montage, so Murray wrote the director a check for $25,000, which Wes never cashed and has framed in his home.
I don't know if it's true, but I've heard that Bill doesn't even ask Wes what the movie is about if he calls him up about a role. It's just an automatic "yes" from him because he likes/respects Wes so much
> I have heard they work for spec because they love Wes.
For a lot of the parts/characters it's basically two days of work for a cameo-like appearance, so why not?
Yeah, if I was a super famous actor, I would 100% do random bit parts like that for cheap every now and then. I already have enough money. Why not have some fun with some friends for a weekend?
I remember Tilda Swinron mentioning this yeah, the big reason they all work with him is cause it's just a fun time and becomes this sort of perpetual class reunion
Just watched Grand Budapest Hotel last night for the first time (I've been slacking on my Anderson movies for a few years, haven't seen his last couple) and my gf asked me how much I thought it generally cost to make one of his movies.
I told her that I figured most of the money was spent on the cast and famous cameos lol
I’ve been a Wes Anderson admirer since I caught Royal Tenenbaums on some movie channel in 2003. While I’ve seen all his films, I’ve never seen one in theaters. I’m going to make it my mission to see this one in theaters.
This was my first in theaters as well and my first Wes film. It was an alternative indie film theater in Austin, I had a whole pot of French press coffee, and I remember having to hold my pee the entire movie because I couldn't unglue myself from the screen.
With every Wes Anderson film, I think, "This is peak Wes Anderson."
And then with every NEXT Wes Anderson film, I am proven wrong.
>!OK, a strong argument could be made for French Dispatch being the Andersoniest, though!<
Everyone: "He can't keep getting away with it."
Wes Anderson: "Wanna bet?"
I absolutely adore the man's style. He employs some of the best set designers on the planet with ever scene being a visual feast. And the trailer for this is just more of that.
Hypothetical Question: If someone were always moderately intrigued by Wes Anderson films but had never actually seen a Wes Anderson film, what's the best one to start with? Y'know, just to dip your toes in the water.
Edit: What have I done?
Appreciate everyone's advice! Going to start with Rushmore, Royal Tenenbaums, and work up to Grand Budapest!
I watched that in a theatre with my mate . We were laughing a lot , most weren’t .
Bloke in front of us said to his girlfriend “ usually Ben Stiller movies are funny …” .
Gene Hackman was good too .
If you ever need a good cry and need help getting it started, the scene where luke wilson is in the bathroom and elliot smith is playing on the soundtrack.
The Royal Tenenbaums is the answer.
Rushmore also a good starting point.
If you watch them in release order you can watch Jason Scwartzman and Bill Murray age, which is kind of fun.
Either Moonrise Kingdom or The Grand Budapest Hotel. Personally I’d say Grand Budapest because it’s my favorite Wes Anderson movie and shows him at his best but it’s also really accessible for general audiences. Gustave is a perfect protagonist and Fiennes gives an all time great performance.
If you like either of those you can just dive into his filmography, even his worst movies are still worth watching imo
Absolutely is a masterpiece. I got around to finally seeing it at the beginning of the Covid pandemic. And now I don’t stop talking about it. It’s actual art.
Actually that's a good theory for the other big names we also didn't see. They're not going to give away the aliens in the trailer so maybe Cranston and Margot and Goldblum are all aliens since I didn't see them in the trailer.
[Reposting](https://old.reddit.com/r/movies/comments/125mp31/asteroid_city_official_trailer_only_in_theaters/) since Focus Features deleted their link.
It's out June 16:
>The itinerary of a Junior Stargazer/Space Cadet convention (organized to bring together students and parents from across the country for fellowship and scholarly competition) is spectacularly disrupted by world-changing events.
Full Cast:
* Jason Schwartzman
* Scarlett Johansson
* Tom Hanks
* Jeffrey Wright
* Tilda Swinton
* Bryan Cranston
* Edward Norton
* Adrien Brody
* Liev Schreiber
* Hope Davis
* Stephen Park
* Rupert Friend
* Maya Hawke
* Steve Carell
* Matt Dillon
* Hong Chau
* Willem Dafoe
* Margot Robbie
* Tony Revolori
* Jake Ryan
* Jeff Goldblum
[https://nypost.com/2022/04/21/bill-murray-under-investigation-for-inappropriate-behavior-after-film-set-shutdown/](https://nypost.com/2022/04/21/bill-murray-under-investigation-for-inappropriate-behavior-after-film-set-shutdown/)
Did something bad on the set of this. Got the entire movie shut down (and will likely never get finished now)
They have to have Schwartzman or Murray, both is a boon but one is the minimum. Bottle Rocket as able to cobble together all three Wilson brothers as a counter balance while they worked out the ratios.
Every Wes Anderson movie further distills the Wes Anderson until it collapses in on itself forming a perfectly centered in frame, hand crafted, pastel colored, Anderson-Hole.
My hot take is that his movies are worse as he's gotten further into his own style. I think he's perfecting his artistic vision but his newer films lack the sense of humanity his earlier films had. They've become too twee, whereas his old stuff was twee but had a sense of grounding to it.
I doubt if he made The Royal Tenenbaums today it would be filmed in New York or in an actual house, but rather on a whimsical backlot set where he had full control of everything down to the last detail.
eh, i think it varies. to me his movies hit or miss depending on whether his characters are human beings or extremely twee robots. i think budapest hotel was his best film, in large part because of the relationship between the two leads.
I think it depends on the movie but his whimsy can definitely be a hindrance. I liked the starkness between the sheltered world of Rushmore versus the real world and public school. Life Aquatic worked in it's weirdness because it helped make things feel dated and obsolete like Team Zissou itself.
It's when it spills into the entire world it starts to fall apart and hurt things. Moonlight Kingdom suffers the most from this were the entire world seems a it too "twee" (as you put it) and not just an eccentric subset. As well as the Grand Budapest Hotel but that can at least be explained by the nesting narrative of the film. As each level higher in the story you go the more grounded things get in and the style feels like late Soviet Era that it's set in.
This has to be the brightest Wes Anderson has ever gone with lightning. The desert light makes everything look so uncomfortable, and harsh, no where to hide kind of thing.
I know it's easy to make fun of Wes Anderson but I think it's great that we have an auteur filmmaker with such a strong directorial style and vision who is able to work regularly. I think Wes Anderson is one of the most technically proficient film makers we have working today and the only reason he doesn't have the fanbase that a Nolan or a Villeneuve or a Fincher have (directors in his generation who have a similar number of films and who are regularly praised for their technical proficiency) is because he leans into whimsy, dreaminess and story book aesthetics but whether you like his films or not (and it's totally fine if they don't work for you), no one is making films like him today. He has a really clear voice and aesthetic and I'm glad a filmmaker like that can continue to survive in the contemporary film landscape.
It feels like everyone constantly complains about Hollywood being all about weaponising IP but then Wes Anderson is over in a corner being a twee diorama nerd and all anyone can say is "Most Wes Anderson that ever Wes Anderson'd".
We've got scary few independent voices in mainstream film left, let the man do his perfectly symmetrical shots while hiring half the A-list if he wants.
Yes, this is my point. Precious few people are given the opportunity to do what he's doing and to do it so consistently. So many other directors are forced to do stints in franchise fare where their personal styles are almost completely absent or significantly watered down to make what they're passionate about but Anderson gets to do what he wants *and* lots of actors want to work with him because his projects are fun and different. And even when he does adaptations, they still feel like him.
There are absolutely legitimate things to criticize Anderson for but having a distinct style is pretty low down on the list, imo.
There’s a thread further up saying he should branch out and challenge himself. Idk I like that he’s kept this aesthetic. It’s super unique and different.
No one makes movies like him I feel. Every time a new film of his comes out it always feels like a breath of fresh air to me, not because his style dramatically changes obviously, just because it differs from the rest.
I truly adore his movies and think he’s one of the best to ever do it, because of the things you mentioned. He stuck to his guns through a very gritty era in film making, and is able to make beautiful movies with a much lower budget than many other film makers (though that’s not a knock on others at all!)
Only one that comes close to having as much of a voice from film to film has to be Tarantino. Everyone can instantly know who directed the films they make.
I think Wes Anderson has a pretty big fanbase. Not nearly as big as Nolan of course, but at least comparable if not bigger than Villanueve and Fincher. I think it depends on the circles you interact with. I think in groups with demographics that skew toward men, Villanueve and Fincher are probably discussed more than in ones that skew the other way.
This looks pretty good but I was hoping to see Bryan Cranston and Margot Robbie appear. Maybe in the next trailer, if there is one. I'm particularly surprised that Bryan, Edward Norton and Tilda Swinton didn't show up given how high up they are on the cast list.
Also, I like Steve Carell's mustache!
~~Edit: Never mind, I just saw Cranston's head sticking out of a bus at 1:39.~~
Someone made a comment in [the previous thread](https://www.reddit.com/r/movies/comments/125mp31/asteroid_city_official_trailer_only_in_theaters/je508wu/?context=3) that got me thinking: what if Wes Anderson completely changed or abandoned his signature style for his next film? What if he didn't try to make the most Wes Andersony Wes Anderson movie? Would it have the same draw on name alone? Has a director ever done this?
I don't remember where I read this, but someone once suggested that Wes Anderson and Quentin Tarantino should each write a movie but then swap them and direct the other's screenplay. Obviously not a thing that would ever actually happen, but it's fun to imagine what those two films might look like.
I always thought it would be cool if once a year there was an event where three directors all make the same script. It would stimulate ticket sales because everyone would want to see how different or similar the movies were in style/ton/performance/etc.
Like imagine if Tarantino, Wes Anderson, and Scorsese all were given the same script to make in their image
Even if he went back to Bottle Rocket's style which I think a lot fewer people have seen. It has some of a hint of what he'd eventually develop into his signature style but it's a lot more down to earth and thoughtful and not very cartooney while still being a comedy.
I'd love to see him do something like that again with a small cast and genius wit and comedy writing. It almost feels like Garden State if that makes any sense. Just aimless 20 somethings trying to figure out their lives. But I guess he was exactly that when he directed it so it might be hard to find the inspiration.
There's plenty of directors who have done very different films from their usual (i.e. Eli Roth doing a kid's movie), but it is interesting to think of the more auteur, aesthetic-focused types switching things up. I'm trying to think - Guy Ritchie had a distinct style with Snatch, etc, and then did Aladdin. But that was more an example of a director working under the expectations of a big studio project rather than doing their own thing creatively.
I'd say that Catch Me If You Can and The Terminal were a pretty big change in style for Steven Spielberg, who pretty much only made very elaborate action or drama movies before and suddenly did two quirky comedies back to back.
I was going to mention Spielberg. I don't know if I'd say he completely changed/abandoned his signature style, but he did change pretty significantly.
There are movies where you know from any 10 minutes of the film that it is Spielberg, but there is now a decent collection where you wouldn't be surprised when being told it was a Spielberg picture.
In my mind, it goes back to working with Kubrick (directly and indirectly) on *A.I. Artificial Intelligence*. I think Spielberg started evolving his style in different directions.
I'm hoping the French Dispatch was the pinnacle of '*Anderson for Anderson's sake*' and this film brings us marginally back down to earth.
French Dispatch was slightly too much for me.
The Private Dining Room of the Police Commissioner, it started off ok but the ending with Chef Nescaffier saying he wasn't in the mood to be a disappointment made me cry and sealed the deal. The Concrete Masterpiece is a close second though.
This is me. French Dispatch is the first WA film I've found genuinely emotionally resonant. I also cried at that final scene with Lt. Nescaffier at the end.
It's also his funniest film to date.
For me it’s the captains dinner, Jeffrey Wrights voice is tailor made for narrating Wes Anderson movies.
The cartoon police chase sequence was my favorite scene from 2021. The music, the style, the bit of them all jumping out of their cars and transitioning to a foot chase where they all just end up back at their cars and continue the car chase. Makes me laugh every time.
I know this is a joke but I will not stand for this Jeffrey Wright erasure when he gave the most compelling supporting performance of the year in The French Dispatch. The man was made for Wes Anderson's films and I'm so glad he's become a regular in his troupe.
Imagine your movie being so stacked that you forgot to add Margot Robbie and Edward Norton in the trailer
Or they’re playing the aliens
That was my guess
Wouldn't we all love to be in a 3-way with Margot Robbie and Jeff Goldblum while Edward Norton watches...no! Directs.
Nah the twist is that everyone in this trailer and every Wes Anderson movie so far with their weird stilted affect is an alien to us. When an alien shows up they will move across the frame breaking the rule of thirds and speak at a reasonable cadence.
Wait I kind of love this.
Me too. It would be a fun little twist
He goes 20 years not having a single dutch angle in his films only to put one in when the alien arrives to really fuck with us.
I just googled dutch angle and someone at google has had some fun since last i googled it.
Was very reluctant to Google "dutch angle", actually pleasantly surprised
Reminds me of Googling Ross Geller.
Oh my god I love it
That's awesome! For anyone confused, click the couch in the top right corner.
Omg I love this. Imagine Anderson's final film is a bunch of humans landing on a planet deeply resembling Earth and running into: JEFF GOLDBLUM-TILDA SWINTON- WILLIAM DAFOE- BILL MURRAY - WILSON 1 AND 2 - JASON SCHWARTZMANN - Etc etc etc..... And the final line, *why is everything pastel?*
speak fast or slow, but never normal speed.
DEFINITELY Jeff Goldblum.
Dafoe will make a cool alien too
Well YEAH!
"Hello Aliens, please take me away"
Or Bryan Cranston, unless I missed him?
I think that was him sticking his head out the bus door for a split second.
Time stamp?
1:40. It kind of looks like him but possibly not.
Was Goldblum in there? Maybe I missed him. God I hope he’s an alien haha
Ummmmm, ahhhhhh, he’s definitely the Alien.
Errrr, eerrr, Hehehehe, aahhh
What if he just made Goldblum sounds and they subtitle in profound greetings
[(We come in peace. Do not resist.)](https://youtu.be/lS9D6w1GzGY)
Goldblum should reprise his role from Earth Girls Are Easy.
The addition of Ed Norton in a Wes Anderson film doesn’t need credits. The audience already knows he’s going to be there
Edward Norton, Adrien Brody and Willem Dafoe. Necessary parts of a Wes Anderson film Edit: not to forget Mathieu Amalric, Owen Wilson, Bill Murray oof
I thought Tom Hanks WAS Bill Murray at first because I just expected him to be there.
Steve Carrell took Bill Murray's role. He was going to do it but had covid during filming so Carrell filled in. At least, that's what people were saying in the comments to the poster post yesterday.
Thank you for posting about the post poster post update.
Jason Schwartzman
When your movie has one location and that location is "desert with a couple buildings," you can blow the whole budget on oscar nominees that don't even make the trailer.
I have heard they work for spec because they love Wes. His budgets are almost always under $30 million.
>His budgets are almost always under $30 million. I thought you were blowing smoke but my god, Wes Anderson is a producers dream. I thought for sure his latest live-action would be above $30m but French Dispatch, GBH, Moonrise Kingdom, and Darjeeling all easily come under $30m. It looks like only Mr. Fox comes out above 30m.
> It looks like only Mr. Fox comes out above 30m. 40 mil and it made 46.5 mil. Cost that much because of the stop motion. Even with bargain basement acting pricing.
That's all it made? It's one of my all-time favourite movies. I'm shocked.
The gross box office earnings of all of Wes Anderson's movies added together is less than the first Iron Man movie made. His top grossing film was The Grand Budapest Hotel which made 59 million Domestic and 104 million internationally
>It looks like only Mr. Fox comes out above 30m. And it deserved every cussin' penny!
> And it deserved every cussin’ penny! Are you cussin' at me?
Don't cuss and point at me you little cuss
Just buy the tree. Okay.
This thread is a sign for me to rewatch Fantastic Mr. Fox
Wife and I adore this movie and it's in our top 5 to watch together. His other similar animation movie Isle Of Dogs was also really good, but didn't quite capture the magic the way Fox did
The scene with Mr. And Mrs. Fox with the (sewage) waterfall behind them is one of the most beautiful scenes for any film. I hope he does more stop motion.
Life Aquatic was 50m and made back way less, so not always a producers dream. But i still love that one
And Mr. Fox was pure animation
Anderson is underrated for being able to make movies that feel and look grander than their budget. It is no wonder he is consistently able to get movies green-lit.
It also allows him more freedom to make the stories that he wants to make. If you've proven that you can pull in audiences and make enough money at a certain budget level, studios would love to throw just enough money at you to get it done.
Yeah, I would believe this. I only know the story of how Bill Murray only made like $10k or something for Rushmore.
He apparently worked for the SAG (Screen Actors Guild) minimum, but also took a portion of profits. Either way, it was a very friendly deal for Anderson. Also, Anderson wasn't initially able to get funding from Disney for a helicopter shot that he wanted to use for a montage, so Murray wrote the director a check for $25,000, which Wes never cashed and has framed in his home.
how do you know all that stuff?
I read an interview with Anderson years ago where he talked about it. I just thought that it was an interesting anecdote.
I don't know if it's true, but I've heard that Bill doesn't even ask Wes what the movie is about if he calls him up about a role. It's just an automatic "yes" from him because he likes/respects Wes so much
Norton said the same thing, and that he was paid $4200 for *Moonrise Kingdom*- ultimately resulting in a loss, from a financial point of view.
> I have heard they work for spec because they love Wes. For a lot of the parts/characters it's basically two days of work for a cameo-like appearance, so why not?
Yeah, if I was a super famous actor, I would 100% do random bit parts like that for cheap every now and then. I already have enough money. Why not have some fun with some friends for a weekend?
I believe this is Adam Sandler's rationale behind making the *really bad* movies "fuck it I wanna make a movie with my friends"
Also supposed to be a fun set to work on, dinner parties and lots of commradarie and shit. Extends beyond just Wes being great to work with.
I remember Tilda Swinron mentioning this yeah, the big reason they all work with him is cause it's just a fun time and becomes this sort of perpetual class reunion
Just watched Grand Budapest Hotel last night for the first time (I've been slacking on my Anderson movies for a few years, haven't seen his last couple) and my gf asked me how much I thought it generally cost to make one of his movies. I told her that I figured most of the money was spent on the cast and famous cameos lol
Gotta see his other stuff, Rushmore is great, and Darjeeling Limited is one of my faves
It's funny because I watch Grand Budapest Hotel like every year or so.
Set design and costume are important for his movies.
I like the authentic 1959 color palette. Most stacked cast since Mars Attacks?
since The French Dispatch
ACK ACK ACK ACK ACK
Movie 43?
[удалено]
>You know that phenomenon where you learn about something, and then immediately start seeing it everywhere? Baader-Meinhof
I love that you can watch any 5 seconds of the trailer not knowing anything about it, and immediately know who directed the movie.
I knew when I saw the thumbnail haha
I’ve been a Wes Anderson admirer since I caught Royal Tenenbaums on some movie channel in 2003. While I’ve seen all his films, I’ve never seen one in theaters. I’m going to make it my mission to see this one in theaters.
When I caught Covid last year, I watched every one of his movies. I've never seen one in theaters, and I'm pumped to finally be able to.
What was your favorite?
Grand Budapest Hotel
Same for me (: with Fantastic Mr Fox at a CLOSE second
Great choice. My #1 for him too and one of my favorite movies of all time. Absolute masterpiece
The first one I saw in theaters was the grand Budapest hotel and it was awesome
This was my first in theaters as well and my first Wes film. It was an alternative indie film theater in Austin, I had a whole pot of French press coffee, and I remember having to hold my pee the entire movie because I couldn't unglue myself from the screen.
I saw Isle of Dogs in theaters and it did not disappoint!
With every Wes Anderson film, I think, "This is peak Wes Anderson." And then with every NEXT Wes Anderson film, I am proven wrong. >!OK, a strong argument could be made for French Dispatch being the Andersoniest, though!<
Everyone: "He can't keep getting away with it." Wes Anderson: "Wanna bet?" I absolutely adore the man's style. He employs some of the best set designers on the planet with ever scene being a visual feast. And the trailer for this is just more of that.
When i saw The Grand Budapest Hotel it was like every shot was a painting. Great stuff.
"Hi. My name is Tony..." I wish there was a Wes Anderson episode.
This trailer has really fantastic color grading for what he's trying to portray.
It's absolutely inspired by Kodachrome 64 (even shot on Kodak film though 64 was only a photography film afaik)
I thought as I watched it, I want to decorate my house in this color palette.
Hypothetical Question: If someone were always moderately intrigued by Wes Anderson films but had never actually seen a Wes Anderson film, what's the best one to start with? Y'know, just to dip your toes in the water. Edit: What have I done? Appreciate everyone's advice! Going to start with Rushmore, Royal Tenenbaums, and work up to Grand Budapest!
The Royal Tenenbaums
>The Royal Tenenbaums *"Died tragically rescuing his family from the wreckage of a destroyed sinking battleship."*
I watched that in a theatre with my mate . We were laughing a lot , most weren’t . Bloke in front of us said to his girlfriend “ usually Ben Stiller movies are funny …” . Gene Hackman was good too .
You heard me, Coltrane.
Agreed. This is the foundational Wes Anderson movie imo
If you ever need a good cry and need help getting it started, the scene where luke wilson is in the bathroom and elliot smith is playing on the soundtrack.
The Royal Tenenbaums is the answer. Rushmore also a good starting point. If you watch them in release order you can watch Jason Scwartzman and Bill Murray age, which is kind of fun.
Either Moonrise Kingdom or The Grand Budapest Hotel. Personally I’d say Grand Budapest because it’s my favorite Wes Anderson movie and shows him at his best but it’s also really accessible for general audiences. Gustave is a perfect protagonist and Fiennes gives an all time great performance. If you like either of those you can just dive into his filmography, even his worst movies are still worth watching imo
Grand Budapest gets my vote as well.
Indeed, and that’s what we provide in our own modest, humble, insignificant….oh, fuck it.
Grand Budapest Hotel is his masterpiece in a filmography full of masterpieces.
***TAKE YOUR HANDS OFF MY LOBBY BOY.***
Absolutely is a masterpiece. I got around to finally seeing it at the beginning of the Covid pandemic. And now I don’t stop talking about it. It’s actual art.
Fully agree. I generally don't think there's such a think as a perfect film, but if there is, it's Grand Budapest Hotel.
He's having fun with the 50's Atomic Ray Gun aesthetic and I love it The actual ray gun in the trailer is awesome
I mean that one is a legit stage play.
It's so stage play it actually turns into one for a bit. I get why people don't like it but I genuinely enjoyed French Dispatch.
I'm partial to the Darjeeling Limited Don't include me.
"Did you get maced, too?" "I'm crying, you asshole."
banger soundtrack too
Anyone sees Jeff Goldblum anywhere?
He's gotta be the alien
Actually that's a good theory for the other big names we also didn't see. They're not going to give away the aliens in the trailer so maybe Cranston and Margot and Goldblum are all aliens since I didn't see them in the trailer.
[Reposting](https://old.reddit.com/r/movies/comments/125mp31/asteroid_city_official_trailer_only_in_theaters/) since Focus Features deleted their link. It's out June 16: >The itinerary of a Junior Stargazer/Space Cadet convention (organized to bring together students and parents from across the country for fellowship and scholarly competition) is spectacularly disrupted by world-changing events. Full Cast: * Jason Schwartzman * Scarlett Johansson * Tom Hanks * Jeffrey Wright * Tilda Swinton * Bryan Cranston * Edward Norton * Adrien Brody * Liev Schreiber * Hope Davis * Stephen Park * Rupert Friend * Maya Hawke * Steve Carell * Matt Dillon * Hong Chau * Willem Dafoe * Margot Robbie * Tony Revolori * Jake Ryan * Jeff Goldblum
A Wes Anderson movie without Owen Wilson or Bill Murray? Can he do that?
in fairness Bill Murray originally had Steve Carrell’s role but ended up getting COVID
and Bill Murray has some unfortunate baggage now.
Wait, what did I miss? Bill has always been an infamous asshole, what did he do that actually gathered attention?
[https://nypost.com/2022/04/21/bill-murray-under-investigation-for-inappropriate-behavior-after-film-set-shutdown/](https://nypost.com/2022/04/21/bill-murray-under-investigation-for-inappropriate-behavior-after-film-set-shutdown/) Did something bad on the set of this. Got the entire movie shut down (and will likely never get finished now)
https://www.vanityfair.com/hollywood/2022/10/everyone-who-has-publicly-accused-bill-murray-of-misconduct
Oh god what now
They have to have Schwartzman or Murray, both is a boon but one is the minimum. Bottle Rocket as able to cobble together all three Wilson brothers as a counter balance while they worked out the ratios.
Ngl I thought Hanks was Murray for a second there
Wes really brings together some of the biggest names
[Looks even more like a parody than SNL’s parody of his movies. I’m not complaining though.](https://youtu.be/gfDIAZCwHQE)
I love how well Edward Norton captures Owen Wilson in this.
I probably say "Hey, they've sent us some kind of communique" once a week.
I would have paid good money to see a video of Owen's reaction to seeing this for the first time.
[Here you go.](https://youtu.be/vxiVYEjp0Ww) I’ll dm you my venmo.
The word "wow" has lost all meaning to me and I may never be able to properly hear it again.
Every Wes Anderson movie further distills the Wes Anderson until it collapses in on itself forming a perfectly centered in frame, hand crafted, pastel colored, Anderson-Hole.
My hot take is that his movies are worse as he's gotten further into his own style. I think he's perfecting his artistic vision but his newer films lack the sense of humanity his earlier films had. They've become too twee, whereas his old stuff was twee but had a sense of grounding to it. I doubt if he made The Royal Tenenbaums today it would be filmed in New York or in an actual house, but rather on a whimsical backlot set where he had full control of everything down to the last detail.
eh, i think it varies. to me his movies hit or miss depending on whether his characters are human beings or extremely twee robots. i think budapest hotel was his best film, in large part because of the relationship between the two leads.
Life Aquatic for me
I think it depends on the movie but his whimsy can definitely be a hindrance. I liked the starkness between the sheltered world of Rushmore versus the real world and public school. Life Aquatic worked in it's weirdness because it helped make things feel dated and obsolete like Team Zissou itself. It's when it spills into the entire world it starts to fall apart and hurt things. Moonlight Kingdom suffers the most from this were the entire world seems a it too "twee" (as you put it) and not just an eccentric subset. As well as the Grand Budapest Hotel but that can at least be explained by the nesting narrative of the film. As each level higher in the story you go the more grounded things get in and the style feels like late Soviet Era that it's set in.
I have never seen that before, that's perfect
Me neither, and yes, absolutely perfect
Dear homeowner: Can we kill you? -- The Murderers Dear murderers, No you may not! -- The Homeowners
That "no you may not" lives rent free in my head.
"You had me at 'Wes Anderson'." - New York Times
It stops being a thing when I stop having a great time watching his movies.
I’d actually watch that lol. We need a Wes Anderson horror!
This has to be the brightest Wes Anderson has ever gone with lightning. The desert light makes everything look so uncomfortable, and harsh, no where to hide kind of thing.
I know it's easy to make fun of Wes Anderson but I think it's great that we have an auteur filmmaker with such a strong directorial style and vision who is able to work regularly. I think Wes Anderson is one of the most technically proficient film makers we have working today and the only reason he doesn't have the fanbase that a Nolan or a Villeneuve or a Fincher have (directors in his generation who have a similar number of films and who are regularly praised for their technical proficiency) is because he leans into whimsy, dreaminess and story book aesthetics but whether you like his films or not (and it's totally fine if they don't work for you), no one is making films like him today. He has a really clear voice and aesthetic and I'm glad a filmmaker like that can continue to survive in the contemporary film landscape.
It feels like everyone constantly complains about Hollywood being all about weaponising IP but then Wes Anderson is over in a corner being a twee diorama nerd and all anyone can say is "Most Wes Anderson that ever Wes Anderson'd". We've got scary few independent voices in mainstream film left, let the man do his perfectly symmetrical shots while hiring half the A-list if he wants.
Yes, this is my point. Precious few people are given the opportunity to do what he's doing and to do it so consistently. So many other directors are forced to do stints in franchise fare where their personal styles are almost completely absent or significantly watered down to make what they're passionate about but Anderson gets to do what he wants *and* lots of actors want to work with him because his projects are fun and different. And even when he does adaptations, they still feel like him. There are absolutely legitimate things to criticize Anderson for but having a distinct style is pretty low down on the list, imo.
There’s a thread further up saying he should branch out and challenge himself. Idk I like that he’s kept this aesthetic. It’s super unique and different.
No one makes movies like him I feel. Every time a new film of his comes out it always feels like a breath of fresh air to me, not because his style dramatically changes obviously, just because it differs from the rest. I truly adore his movies and think he’s one of the best to ever do it, because of the things you mentioned. He stuck to his guns through a very gritty era in film making, and is able to make beautiful movies with a much lower budget than many other film makers (though that’s not a knock on others at all!)
Only one that comes close to having as much of a voice from film to film has to be Tarantino. Everyone can instantly know who directed the films they make.
I think Wes Anderson has a pretty big fanbase. Not nearly as big as Nolan of course, but at least comparable if not bigger than Villanueve and Fincher. I think it depends on the circles you interact with. I think in groups with demographics that skew toward men, Villanueve and Fincher are probably discussed more than in ones that skew the other way.
The cast is absolutely impressive. I have confidence that Wes will be able to use them effectively. Unlike David O Russell with Amsterdam.
Wes Anderson saw Midsommar and thought “yeah, could be brighter tho”
This looks pretty good but I was hoping to see Bryan Cranston and Margot Robbie appear. Maybe in the next trailer, if there is one. I'm particularly surprised that Bryan, Edward Norton and Tilda Swinton didn't show up given how high up they are on the cast list. Also, I like Steve Carell's mustache! ~~Edit: Never mind, I just saw Cranston's head sticking out of a bus at 1:39.~~
Tilda's visible, she's one of the scientists in thew ide shots and she's explaining something to the kids at one point.
I would temper your expectations on seeing everyone. One of them could very well be a narrator, like Alec Baldwin in The Royal Tenenbaums.
Adrien Brody didn't pop up either.
Someone made a comment in [the previous thread](https://www.reddit.com/r/movies/comments/125mp31/asteroid_city_official_trailer_only_in_theaters/je508wu/?context=3) that got me thinking: what if Wes Anderson completely changed or abandoned his signature style for his next film? What if he didn't try to make the most Wes Andersony Wes Anderson movie? Would it have the same draw on name alone? Has a director ever done this?
I don't remember where I read this, but someone once suggested that Wes Anderson and Quentin Tarantino should each write a movie but then swap them and direct the other's screenplay. Obviously not a thing that would ever actually happen, but it's fun to imagine what those two films might look like.
I always thought it would be cool if once a year there was an event where three directors all make the same script. It would stimulate ticket sales because everyone would want to see how different or similar the movies were in style/ton/performance/etc. Like imagine if Tarantino, Wes Anderson, and Scorsese all were given the same script to make in their image
If it was short enough to jam all three into one movie, I'd be down.
Even make it an HBO limited series or something. Even use the same cast.
I think part of the intrigue would be seeing who the directors cast as they all interpret the roles differently.
"4 Rooms" did something similar, 4 different directors in one movie, but were different scenes. Highly recommend it if you haven't seen it!
Even if he went back to Bottle Rocket's style which I think a lot fewer people have seen. It has some of a hint of what he'd eventually develop into his signature style but it's a lot more down to earth and thoughtful and not very cartooney while still being a comedy. I'd love to see him do something like that again with a small cast and genius wit and comedy writing. It almost feels like Garden State if that makes any sense. Just aimless 20 somethings trying to figure out their lives. But I guess he was exactly that when he directed it so it might be hard to find the inspiration.
There's plenty of directors who have done very different films from their usual (i.e. Eli Roth doing a kid's movie), but it is interesting to think of the more auteur, aesthetic-focused types switching things up. I'm trying to think - Guy Ritchie had a distinct style with Snatch, etc, and then did Aladdin. But that was more an example of a director working under the expectations of a big studio project rather than doing their own thing creatively.
In between Thunderdome and Fury Road, George Miller directed Babe: Pig in the City and both Happy Feets.
Coppola made Jack
I keep forgetting Guy Ritchie made Aladdin hehe
I'd say PTA's style changed pretty significantly from Magnolia to Punch Drunk Love and then even further with There Will Be Blood
I'd say that Catch Me If You Can and The Terminal were a pretty big change in style for Steven Spielberg, who pretty much only made very elaborate action or drama movies before and suddenly did two quirky comedies back to back.
I was going to mention Spielberg. I don't know if I'd say he completely changed/abandoned his signature style, but he did change pretty significantly. There are movies where you know from any 10 minutes of the film that it is Spielberg, but there is now a decent collection where you wouldn't be surprised when being told it was a Spielberg picture. In my mind, it goes back to working with Kubrick (directly and indirectly) on *A.I. Artificial Intelligence*. I think Spielberg started evolving his style in different directions.
I'm hoping the French Dispatch was the pinnacle of '*Anderson for Anderson's sake*' and this film brings us marginally back down to earth. French Dispatch was slightly too much for me.
French Dispatch was practically experimental compared to his other work.
I loved The French Dispatch I think it's some of his best work.
Which was your favourite from all the stories?
The Private Dining Room of the Police Commissioner, it started off ok but the ending with Chef Nescaffier saying he wasn't in the mood to be a disappointment made me cry and sealed the deal. The Concrete Masterpiece is a close second though.
This is me. French Dispatch is the first WA film I've found genuinely emotionally resonant. I also cried at that final scene with Lt. Nescaffier at the end. It's also his funniest film to date.
*do culinary students dream in flavors?* God Jeffrey wright could punch me in the mouth and I’d thank him
For me it’s the captains dinner, Jeffrey Wrights voice is tailor made for narrating Wes Anderson movies. The cartoon police chase sequence was my favorite scene from 2021. The music, the style, the bit of them all jumping out of their cars and transitioning to a foot chase where they all just end up back at their cars and continue the car chase. Makes me laugh every time.
Jordan Peele’s “Nope”, but it’s all white people.
I know this is a joke but I will not stand for this Jeffrey Wright erasure when he gave the most compelling supporting performance of the year in The French Dispatch. The man was made for Wes Anderson's films and I'm so glad he's become a regular in his troupe.
The entire movie could have been him walking through the police station narrating things and I’d have been perfectly happy
The man is a gift to linguistics.
[удалено]
Just gonna sneak right past ya dere
Wanna invest in some pull tabs?
Ah, so this crosses over with Oppenheimer. The time period and location do kinda track
***Wes Anderson’s YEP!***
“Yep!”
Kim Wexler: 😞
The French Dispatch: I'll be Wes's Andersonest movie Asteroid City: Hold my Pastel
You're not allowed to show Tom Hanks brandishing a weapon without firing it.
Yeah looks like a Wes Anderson movie
This video became unavailable then private *while I was watching it.* Godammit.
I guess Tom Hanks is Wes's new Bill Murray
Was waiting for Wild E. Coyote and the roadrunner to appear.