Wesley Wales Anderson (born May 1, 1969) is an American filmmaker. His films are known for their eccentricity, distinctive visual and narrative styles,[1] and frequent use of ensemble casts. With themes of grief, loss of innocence, and dysfunctional families, critics have cited Anderson as an auteur. Three of his films[a] have appeared in BBC Culture's 2016 poll of the greatest films since 2000.[2]
Wesley Wales Anderson was born on May 1, 1969, in Houston, Texas, to Ann Anderson (née Burroughs), a realtor and archaeologist,[6] and Melver Leonard Anderson, who worked in advertising and public relations.[7][8][9][10] He is the second of three boys; his parents divorced when he was eight.[10] His older brother, Mel, is a physician, and his younger brother, Eric Chase Anderson, is a writer and artist whose paintings and designs have appeared in several of Anderson's films, including The Royal Tenenbaums.[11] Anderson is of English, Swedish, and Norwegian ancestry.[12]
Anderson's first film was Bottle Rocket (1996), based on a short film of the same name that he made with Luke and Owen Wilson. It is a crime caper about a group of young Texans aspiring to achieve major heists. It was well reviewed but performed poorly at the box office.[17][18][19]
Anderson's next comedy-drama, The Royal Tenenbaums, was released in 2001. The film focuses on a successful, artistic New York City family and its ostracized patriarch, played by Gene Hackman. It also stars Anjelica Huston as the ex-wife and Ben Stiller, Luke Wilson, and Gwyneth Paltrow as the children. The film was a box-office and critical success. It was Anderson's greatest financial success until Moonrise Kingdom, earning more than $50 million in domestic box-office receipts. The Royal Tenenbaums was nominated for an Academy Award and ranked by an Empire poll as the 159th greatest film ever made.[23]
Anderson's next feature was The Life Aquatic with Steve Zissou (2004), about a Jacques Cousteau-esque documentary filmmaker played by Bill Murray. The film also stars Owen Wilson, Cate Blanchett, Willem Dafoe, Jeff Goldblum, Anjelica Huston, and Michael Gambon. It is a classic example of Anderson's style, but its critical reception was less favorable than his previous films', and its box office did not match the heights of The Royal Tenenbaums.[24]
The Darjeeling Limited (2007) was about three emotionally distant brothers traveling together on a train in India. It reflects the more dramatic tone of The Royal Tenenbaums but faced criticism similar to those of The Life Aquatic with Steve Zissou. Anderson has acknowledged that he went to India to film the movie partly as a tribute to Indian filmmaker Satyajit Ray, whose "films have also inspired all my other movies in different ways" (the film is dedicated to him).[25] The film stars Anderson staples Jason Schwartzman and Owen Wilson in addition to Adrien Brody, and the script is by Anderson, Schwartzman, and Roman Coppola.[26]
Anderson has also made several notable short films. In addition to the original Bottle Rocket short, he made Hotel Chevalier (2007), which is set in Paris. It is a prologue to The Darjeeling Limited, and stars Schwartzman alongside Natalie Portman. He wrote a script for Brian Grazer for an English-language remake of Patrice Leconte's My Best Friend. In 2010 he said that he did not plan to direct the film, tentatively called The Rosenthaler Suite.[27] In 2009, Anderson's stop-motion-animated film adaptation based on the Roald Dahl book Fantastic Mr Fox was released. Its voice actors include Murray, Dafoe, Schwartzman, Brody, Gambon, Owen Wilson, George Clooney, and Meryl Streep. Critics praised it highly and it was nominated for the Academy Award for Best Animated Feature, although it barely made back its production budget.
In 2012, Anderson's film Moonrise Kingdom was released, debuting at the Cannes Film Festival, where it competed for the Palme d'Or.[28] The film is a coming-of-age comedy set in a fictional New England town. It includes ensemble performances by Bill Murray, Edward Norton, Bruce Willis, Frances McDormand, and Tilda Swinton. The film is emblematic of Anderson's style and earned him another Academy Award nomination for his screenplay. The film was also a financial success, earning $68.3 million at the box office against a budget of only $16 million.
In 2014, Anderson's next film, The Grand Budapest Hotel, was released. It stars Ralph Fiennes, Tony Revolori, Saoirse Ronan, Jeff Goldblum, Willem Dafoe, F. Murray Abraham, and several of Anderson's regular collaborators, including Murray, Owen Wilson, Swinton and Schwartzman.[29] It is mostly set in the 1930s and follows the adventures of M. Gustave, the hotel's concierge, making "a marvelous mockery of history, turning its horrors into a series of graceful jokes and mischievous gestures", according to The New York Times.[30] The film is one of Anderson's greatest critical and commercial successes, grossing nearly $175 million worldwide and earning dozens of award nominations, including nine Oscar nominations with four wins for Best Production Design, Best Costume Design, Best Makeup, and Best Original Score.[31] These nominations also included his first for Best Director.
"But it's also what surrounds it, where all the actors stay in the same hotel. We have dinner at one table every single night with Wes and all guests; it's like actor camp... On a Wes Anderson film there are no trailers, no dressing rooms... there's no hierarchy, no call sheet—you are just ready to go at about 9:30, 10:00 in the morning in your wardrobe. You hop in his golf cart with him or a van and you go to the set... you hang out with everyone so you never know if you are going to be called into a scene. He's such a kind and generous spirit... also in his personal life. Everyone makes the same amount of money. You just show up and off you go. Sometimes you might [be] just a small supporting role in a scene and then [in] others you'll be the lead in a movie.[55]
The Soviet comedy movie Welcome, or No Trespassing by Elem Klimov (1964) has been pointed out as one major source of inspiration for Wes Anderson, specifically its “camera work, storytelling devices, and charming whimsy.”[62]
Favorite films
In 2010, Wes Anderson selected twelve of his favorite films from the Criterion closet. Titles three through five were a boxset. They were:[63]
In 2022, Wes Anderson participated in the British Film Institute'sSight and Sound polls. Held every ten years to select the greatest films of all time, contemporary directors were asked to select ten films of their choice. Anderson's choices, all French, in chronological order, were:[64]
Anderson's work has been classified as postmodern, on account of his nostalgic attention to detail, his subversion of mainstream conventions of narrative, his references to different genres in the same film, and his love for eccentric characters with complex sexual identities.[67][68]
Anderson has mostly directed fast-paced comedies marked by more serious or melancholic elements, with themes often centered on grief, loss of innocence, dysfunctional families, parental abandonment, adultery, sibling rivalry and unlikely friendships. His movies have been noted as unusually character-driven and, by turns, both derided and praised with terms like "literary geek chic".[69][70] Their plots often feature thefts and unexpected disappearances, with a tendency to borrow liberally from the caper genre.[71]
Visual style
According to Alex Buono,[72] Anderson has been noted for extensive use of flat space camera moves (pans, tilts, and zooms within scenes that look two-dimensional),[73] symmetrical compositions, snap-zooms (rapid, shakey zooms onto subjects),[74] slow-motion walking shots, a deliberately limited color palette, and handmade art direction often using miniatures. These stylistic choices give his movies a distinctive quality that has provoked much discussion, critical study, supercuts, mash-ups, and parody. Many writers, critics, and Anderson himself have commented that this gives his movies the feel of being "self-contained worlds" or a "scale-model household".[75] According to Jesse Fox Mayshark, his films have "a baroque pop bent that is not realist, surrealist or magic realist", but rather might be described as "fabul[ist]".[76] In 2019, the company Murals Wallpaper launched a line of wallpapers inspired by the visual design of Anderson's films.[77]
The soundtracks for his films have often brought renewed attention to the artists featured, most prominently in the case of "These Days", which was used in The Royal Tenenbaums.[80]
Anderson is in a romantic relationship with Lebanese writer, costume designer, and voice actress Juman Malouf,[85][86] the daughter of novelist Hanan al-Shaykh.[87] Malouf gave birth to the couple's daughter in 2016.[88]
Anderson has maintained an apartment in Paris since 2005, after spending most of his adult life in New York City.[89][90][91] He is the brother of author, illustrator and actor Eric Chase Anderson.[92]
In January 2021, The Simpsons aired its thirty-second season episode titled "The Dad-Feelings Limited", a reference to Anderson's 2007 film The Darjeeling Limited. The episode itself tells the origin story of Comic Book Guy and refers to several Anderson styles and tropes, including a Royal Tenenbaums-esque chronicling of the character's elaborate family tree.[96]
In October 2021, Anderson redesigned the interior of the Pullman carriage Cygnus, which had its first run with the new design on October 13, 2021.[97]
Notes
^95. Moonrise Kingdom (2012), 68. The Royal Tenenbaums (2001), 21. The Grand Budapest Hotel (2014)
^ abcdCollin, Robbie (February 19, 2014). "Wes Anderson interview". The Daily Telegraph. Archived from the original on December 20, 2014. Retrieved December 19, 2014.
^ abc"Wild, Wild Wes". The New Yorker. November 2, 2009. Archived from the original on September 27, 2014. Retrieved December 19, 2014.
^Chabon, Michael (January 31, 2013). "Wes Anderson's Worlds". New York Review of Books. Archived from the original on July 29, 2014. Retrieved July 28, 2014.
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