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Wes Anderson
Wes Anderson-20140206-85.jpg
Born Wesley Wales Anderson
(1969-05-01) May 1, 1969 (age 48)
Houston, Texas, U.S.
Residence Paris, France
Alma mater University of Texas at Austin
Years active 1992–present
Partner(s) Juman Malouf (2010–present)
Children 1
Relatives Eric Chase Anderson

Wesley Wales Anderson (born May 1, 1969) is an American film director, film producer, screenwriter, and actor. His films are known for their distinctive visual and narrative styles. [1]

Anderson was nominated for the Academy Award for Best Original Screenplay for The Royal Tenenbaums in 2001, Moonrise Kingdom in 2012 and The Grand Budapest Hotel in 2014, as well as the Academy Award for Best Animated Feature for Fantastic Mr. Fox in 2009. He received his first Academy Award nomination for Best Director and won the Golden Globe Award for Best Motion Picture – Musical or Comedy for The Grand Budapest Hotel in 2014. He also received the BAFTA Award for Best Original Screenplay in 2015. He currently runs production company American Empirical Pictures, which he founded in 1998.[2] Anderson won the Silver Bear for Best Director for the stop-motion animated film Isle of Dogs (2018).[3]

Anderson is regarded by many as a modern-day example of the auteur. He has received consistent praise from critics for his work, and three of his films—The Royal Tenenbaums, Moonrise Kingdom, and The Grand Budapest Hotel—appeared in BBC's 2016 poll of the greatest films since 2000.[4]

YouTube Encyclopedic

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  • Moonrise Kingdom — Where Story Meets Style
  • Director's Brief - Wes Anderson
  • Wes Anderson wins the 2015 WGA Award for Original Screenplay for Grand Budapest Hotel
  • Tarantinos talks about his writing process
  • Quentin Tarantino, Ridley Scott, Danny Boyle, & More Directors on THR's Roundtables I Oscars 2016


Hi. I'm Michael. This is Lessons from the Screenplay. Some people consider Wes Anderson a genius, subverting conventional film language while creating his own dialect. Others consider his films artfulness mistaken for art, devoid of meaning. While I am a fan of most Wes Anderson films, I think Moonrise Kingdom is the best example of story matching style. The color palette and storybook-like presentation create a world similar to the fantasy novels Suzy carries with her. But today I want to glimpse past his visual style and look at other elements. To examine how the screenplay sets the stage for the story, And how it uses details to create the fantastical and dangerous world of Moonrise Kingdom. We all know what a Wes Anderson movie looks like, but what does a Wes Anderson screenplay look like? Here are a few things I thought were noteworthy. In the scene headers, Anderson and co-writer Roman Coppola chose to use a second period instead of the traditional dash. When there is information relevant to the story world, but not inherently obvious in the screenplay, it is noted in parentheses. There are very few specific mentions of the camera. The narrator directly address it. Insert shots are noted. Split-screen is described. Any other camera visuals are implied by the mention of elements in the foreground or background. Lastly, many of the visual details Anderson is known for can be found in the screenplay as well. The action lines note specific decorations, placements of objects, and costume details. But besides painting a picture for the reader, what do these details actually add to the narrative? From the lining of the tent, to the color of the paper on the bulletin board, the screenplay is full of detailed descriptions of the world. But what I found most interesting were the details describing the lives of the characters. Each character is doing something else when we meet them, going about their normal routines before getting roped-in to the story. This is true not only of the main characters, but of the smaller ones, like Becky the switchboard operator. “A young woman with her hair in a bun sits at an operator's switchboard eating a sandwich wrapped in wax-paper.” “She is Becky.” So why is Becky eating a sandwich? I have no idea. Other than it sets up an association with her and food, which comes in to play again in a later scene: “Becky opens a tin of home-made lemon bars. Captain Sharp declines one.” “Scout Master Ward tries one." "He looks completely enchanted.” Becky could have simply been a generic switchboard operator. But instead she's given these tiny moments that hint at her life outside her function in the story. These cookie-sharing moments even begin a love story between her and Scout Master Ward that happens in the very, very background of the movie. —"You?" —"Are you alright?" "Of course I am." This is a small, quirky thing. But the accumulation of all these tiny details helps fill out the world and make it feel believable. Lived-in. Like it existed before the movie began and will persist after it ends. And this is important because it makes the audience feel like the characters’ actions will have repercussions on the world. That their choices matter. These details also help the audience become familiar with the setting of the film. As Screenwriter William Goldman wrote in his book, “Adventures in the Screen Trade”: "Every movie sets it's own special reality." "And once those limits are established, they may not be broken without the risk of fragmenting..." "...the entire picture." This is why it's necessary to set the stage for your story. The first fifteen pages of the film are dedicated to setting the stage. The narrator gives us a tour of the island, and foreshadows the coming storm, establishing the time frame of the story. “We are on the far edge of Black Beacon Sound…” “…famous for the ferocious and well-documented storm which will strike from the east…” “…on the fifth of September — in three day’s time.” We meet the Khaki scouts and see their potential for violence as they search for Sam while carrying very large, very dangerous weapons. “What if he resists?” “Who?” “Shakusky. Are we allowed to use force on him?” “No, you’re not. This is a non-violent rescue operation.” By the time Suzy and Sam meet in the field on page seventeen, we know the cast of characters, the scope of the world, and the threats that are coming their way. These threats are realized in my favorite example of establishing the rules of the world, when Suzy and Sam encounter the Khaki Scouts. “You’re doomed, Shakusky.” Their fight is not without casualties. One of the scouts is stabbed by Suzy... "Oh no!" ...and the dog is killed. Obviously, I'm sad the dog dies, but it raises the stakes for the world. If the film is willing to kill the dog, it removes a layer of safety. This is an attribute of Moonrise Kingdom that Wes Anderson is very conscious of. "Owen and I used to always discuss whether or not— 'can anyone die in our movies?'" "Is it conceivable that someone can die?” “I think this movie, I think, is one of the ones where they could die." This especially serves the final act of the film when the storm hits. In the last moments when Suzy and Sam climb to the roof to try to escape, there is a real sense of danger. This is important because their willingness to die for their love is only impactful if you think they could actually die. This demonstrates the importance of establishing the boundaries of what can and can't happen in your story. The last thing I want to talk about is how the world of Moonrise Kingdom is presented to the audience. In short, the style. In their book “Notes on Directing,” Frank Hauser and Russell Reich write: “Elements of style are best applied with intention, purpose, and meaning..." "...not as ends in themselves.” The elements of Wes Anderson's style are well-documented, but what is their purpose? Most films want you to disappear into the narrative and forget that you're watching a movie. They use conventional cinematic language that doesn't draw attention to itself. Wes Anderson is the complete opposite. From a narrator who addresses the audience and interacts with the camera... Suzy's books updating the audience on where they are in the story... "Part Two" ...the style of Moonrise Kingdom is a constant reminder you are watching a movie. Perhaps the most distancing element of the style is the dialogue. The characters are very direct, sometimes to the point of being harsh. “I have to do better." "For everybody.” “Except me.” “Except you.” They almost never lie, instead speaking aloud precisely what they’re thinking or feeling. “I hope the roof flies off and I get sucked up into space.” “You’ll be better off without me.” So the dialogue of Moonrise Kingdom shirks realism in pursuit of something else. But what? On one hand, the dialogue provides the audience with direct access to the thoughts and feelings of the characters. A connection. But on the other hand, the lines are so plain and performed with such little affect, that hardly any emotional meaning is conveyed in the delivery. A distance. This creates a dissonance, where the audience is exposed to intense emotions but also held at arm's length, unable to be fully immersed in the experience. Rather than having the meaning delivered to us, we the audience have to actively engage and discern the emotional life of the characters ourselves. “I’ll be out back.” “I’m going to find a tree to chop down.” This Brechtian approach to storytelling can make Wes Anderson's films more of an intellectual exercise than escapist entertainment. But it's also why I think his style supports the theme and story of Moonrise Kingdom particularly well. Because Suzy and Sam are trying understand their world too. They’re both troubled children who have finally found a person and a place that makes them happy, but all the adults are trying to keep them apart. “We’re in love." "We just want to be together." "What’s wrong with that?” The presentation of the story mimics the innocent earnestness of childhood clashing with the emotional barriers we construct in adulthood. All while telling the story of two kids who are undergoing the frustrating transition from one to the other. In Moonrise Kingdom, the beach that Suzy and Sam claim as their own is wiped off the map during the storm. For me, this is a metaphor for the end of childhood. A time of intense emotion and innocence that must be destroyed in order to grow up. But this film, both because of the content of the story and the way it's told, briefly recreates this bittersweet period of transition. It’s a piece of art that lets me return to Moonrise Kingdom whenever I want. Let me show you my end-card graphic. This is the subscribe button. You click this if you want more videos on great screenplays. Here’s a link to my Patreon. This is if you want to support the channel and help me make more videos. Here you can watch my previous videos. There are several. Finally, down here is social media information. This is if you want to say “hi.” I hope you enjoyed my video on Moonrise Kingdom. Which of Wes Anderson’s films is your favorite? Let me know in the comments below. And thank you for watching.


Early life

Wesley Wales Anderson was born on May 1, 1969, in Houston, Texas. He is the son of Texas Ann (Burroughs), a realtor and archaeologist,[5] and Melver Leonard Anderson, who worked in advertising and public relations.[6][7][8][9][10] He is the second of three boys; his parents divorced when he was eight.[10] His elder 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.[11] Anderson is of Swedish and Norwegian ancestry.[12]

He graduated from St. John's School in Houston in 1987, which he later used as a prominent location throughout Rushmore.[13] As a child, Anderson made silent films on his father's Super 8 camera, starring his brothers and friends, although his first ambition was to be a writer.[10][11] Anderson attended college while working part-time as a cinema projectionist. He graduated from the University of Texas at Austin with a degree in philosophy in 1990, where he met future frequent collaborator Owen Wilson.[10][11][14]

Film career


Anderson's first film was Bottle Rocket (1996), based on a short film that he made with Luke and Owen Wilson. It was 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.[15][16][17]

Anderson's next film was Rushmore (1998), a quirky comedy about a high school student's crush on an elementary school teacher starring Bill Murray and Jason Schwartzman. It was a critical success.[18] Murray has since appeared in every Anderson film to date. In 2000, filmmaker Martin Scorsese praised Bottle Rocket and Rushmore.[19]

The Royal Tenenbaums (2001) was Anderson's next comedy-drama film, about a successful artistic New York City family and its ostracized patriarch. It represented his greatest success until Moonrise Kingdom in 2012, 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.[20]

Anderson's next feature was The Life Aquatic with Steve Zissou (2004) about a Jacques Cousteau-esque documentary filmmaker played by Bill Murray. It serves as 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.[21] In September 2006, Steely Dan's Walter Becker and Donald Fagen released a tongue-in-cheek "letter of intervention" for Anderson's artistic "malaise" following the disappointing commercial and critical reception of The Life Aquatic with Steve Zissou, proclaiming themselves to be fans of "World Cinema" and of Anderson in particular. They offered Anderson their soundtrack services for his The Darjeeling Limited, including lyrics for a title track.[22]

The Darjeeling Limited (2007) was about three emotionally distant brothers traveling together on a train in India. It reflected the more dramatic tone of The Royal Tenenbaums but faced criticisms similar to The Life Aquatic. Anderson has acknowledged that he went to India to film the 2007 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).[23] The film starred Anderson staples Jason Schwartzman and Owen Wilson in addition to Adrien Brody, and the script was co-written by Anderson, Schwartzman, and Roman Coppola.[24]

In 2008, Anderson was hired to write the screenplay of the American adaptation of My Best Friend, a French film, for producer Brian Grazer; Anderson's first draft was titled "The Rosenthaler Suite".

Anderson's stop motion animation adaptation of the Roald Dahl book Fantastic Mr Fox was released in 2009. The film was highly praised and nominated for the Academy Award for Best Animated Feature, although not earning much more than its production budget.


 Wes Anderson, Koyu Rankin, Liev Schreiber, Jeff Goldblum, Kunichi Nomura at the press conference of Isle of Dogs at Berlinale 2018
Wes Anderson, Koyu Rankin, Liev Schreiber, Jeff Goldblum, Kunichi Nomura at the press conference of Isle of Dogs at Berlinale 2018

Following the critical success of Fantastic Mr. Fox, Anderson made Moonrise Kingdom which opened at the Cannes Film Festival 2012.[25] The film was emblematic of Anderson's style, was a financial success, and earned Anderson another Academy Award nomination for his screenplay.

Anderson's latest film, The Grand Budapest Hotel (2014), starred Ralph Fiennes, Jude Law, F. Murray Abraham, and Saoirse Ronan, along with several of his regular collaborators including Bill Murray, Owen Wilson, and Jason Schwartzman.[26] It is 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.[27] The film represented 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.[28] These nominations also included his first for Best Director.

In October 2015, Anderson announced that he would be returning to the realm of stop-motion animation in a film about dogs.[29] He announced the film's title Isle of Dogs in a video made to fund a film preservation program in December 2016. The voice cast will include Bill Murray, Bryan Cranston, Tilda Swinton, Frances McDormand, Scarlett Johansson, Greta Gerwig, Jeff Goldblum, F. Murray Abraham, Harvey Keitel, Akira Ito, Akira Takayama, Koyu Rankin, Courtney B. Vance, Yoko Ono, and Edward Norton. Production on the film started in England in October 2016, and it has an anticipated 2018 release date.[30][31][32]

Anderson has also created several notable short films. In addition to the original Bottle Rocket short, he made the Paris-set Hotel Chevalier (2007), which was created as a prologue to The Darjeeling Limited and starred Jason Schwartzman alongside Natalie Portman, and the Italy-set Castello Cavalcanti (2013),[33] which was produced by Prada and starred Jason Schwartzman as an unsuccessful race-car driver. Additionally, he has directed a number of television commercials for companies such as Stella Artois and Prada, including an elaborate American Express ad, in which he starred as himself.[34]

Anderson's cinematic influences include François Truffaut, Louis Malle, Pedro Almodóvar,[35] Satyajit Ray,[36] John Huston, Mike Nichols, Hal Ashby,[37] Stanley Kubrick, Martin Scorsese, Orson Welles, and Roman Polanski.[38]

Directing techniques

Anderson has a unique directorial style that has led several critics to consider him an auteur.[39][40][41][42]

Themes and stories

Anderson has chosen to direct mostly 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 for being unusually character-driven, and by turns both derided and praised with terms like "literary geek chic". The plots of his movies often feature thefts and unexpected disappearances, with a tendency to borrow liberally from the caper genre.[43]

Visual style

Anderson has been noted for his extensive use of flat space camera moves, obsessively symmetrical compositions, knolling, snap-zooms, slow-motion walking shots, a deliberately limited color palette, and hand-made art direction often utilizing miniatures.[44] These stylistic choices give his movies a highly distinctive quality that has provoked much discussion, critical study, supercuts, and mash-ups, and even parody. Many writers, critics, and even Anderson himself, have commented that this gives his movies the feel of being "self-contained worlds", or a "scale model household".[45] 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]".[46]

From The Life Aquatic on, Anderson has relied more heavily on stop motion animation and miniatures, even making entire features with stop motion animation with Fantastic Mr. Fox and Isle of Dogs.[47]


Anderson frequently uses pop music from the 1960s and '70s on the soundtracks of his films, and one band or musician tends to dominate each soundtrack. In Rushmore, Cat Stevens and British Invasion groups featured prominently, The Royal Tenenbaums included songs recorded by Nico and The Velvet Underground, The Life Aquatic was replete with David Bowie including both originals and covers performed by Seu Jorge, The Kinks appeared on the soundtrack for The Darjeeling Limited and Rushmore, The Beach Boys in Fantastic Mr. Fox, and Hank Williams for Moonrise Kingdom. (Much of Moonrise Kingdom is filled with the music of Benjamin Britten, which is tied to a number of major plot points for that film.)[48] The Grand Budapest Hotel, which is mostly set in the 1930s, is notable for being the first Anderson film to eschew using any pop music, and instead used original music composed by Alexandre Desplat. Its soundtrack was the most acclaimed, winning Desplat the Academy Award for Best Original Score, the BAFTA Award for Best Film Music and World Soundtrack Award for Best Original Score of the Year. 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.[49]

Personal life

Anderson is in a relationship with Lebanese writer, costume designer and voice actress Juman Malouf.[50][51]

Malouf gave birth to the couple's daughter, Freya, in 2016. She is named after a character from the film The Mortal Storm.[52][53][54] Anderson lives in Paris but has spent a majority of his life in New York.[55][56][57]

He is the brother of artist Eric Chase Anderson, who illustrated the Criterion Collection releases of Anderson's films (except for Moonrise Kingdom) and provided the voice of Kristofferson Silverfox in Fantastic Mr. Fox.[58]


Feature films

Year Title Director Producer Writer Actor Role Notes
1996 Bottle Rocket Yes Yes Yes Passenger on Bus (uncredited) Co-written with Owen Wilson
1998 Rushmore Yes Yes Yes Yes Student (uncredited)
2001 The Royal Tenenbaums Yes Yes Yes Yes Tennis Match Commentator (uncredited)
2004 The Life Aquatic with Steve Zissou Yes Yes Yes Co-written with Noah Baumbach
2005 The Squid and the Whale Yes Co-produced with Peter Newman, Charlie Corwin, and Clara Markowicz
2007 The Darjeeling Limited Yes Yes Yes Co-written with Jason Schwartzman and Roman Coppola
2009 Fantastic Mr. Fox Yes Yes Yes Yes Stan Weasel (voice) Screenplay by Anderson and Noah Baumbach, based on the novel of the same name by Roald Dahl
2012 Moonrise Kingdom Yes Yes Yes Co-written with Roman Coppola
2014 The Grand Budapest Hotel Yes Yes Yes Screenplay by Anderson, story by Anderson and Hugo Guinness
She's Funny That Way Yes Co-produced with Noah Baumbach
2016 Sing Yes Daniel (voice) Cameo
2017 Escapes Yes Executive producer
2018 Isle of Dogs Yes Yes Yes Screenplay by Anderson, story by Anderson, Roman Coppola, Jason Schwartzman and Kunichi Nomura

Other works

Year Title Director Producer Writer Actor Role Notes
1994 Bottle Rocket Yes Yes Short film, co-written with Owen Wilson. This was shot in 1992.
2004 American Express: My Life, My Card Yes Yes Yes Himself Commercial, starring Anderson as himself as he directs an elaborate fake film featuring Jason Schwartzman.[59]
2007 Hotel Chevalier Yes Yes Short film, created as a prologue to The Darjeeling Limited, starring Natalie Portman and Jason Schwartzman.
2008 Softbank Yes Japanese commercial, filmed in France, starring Brad Pitt.
2010 Stella Artois: Apartomatic Yes Commercial, created for Stella Artois, co-directed with Roman Coppola.
2012 Made of Imagination Yes Commercial, created for Sony Xperia
Do You Like to Read? Yes Yes Short film, created to promote Moonrise Kingdom, starring Bob Balaban.
Cousin Ben Troop Screening Yes Yes Short film, created to promote Moonrise Kingdom, starring Jason Schwartzman.
2013 Prada: Candy Yes Commercial, created for Prada, starring Léa Seydoux.
Castello Cavalcanti Yes Yes Commercial, created for Prada, starring Jason Schwartzman.
2016 Come Together Yes Yes Commercial, created for H&M, starring Adrien Brody.

Recurring collaborators

Anderson's films feature many recurring actors, crew members, and other collaborators, including the Wilson brothers (Owen, Luke, and Andrew), Bill Murray,[60] Willem Dafoe, Jeff Goldblum, Edward Norton, Seymour Cassel, Anjelica Huston, Jason Schwartzman, Kumar Pallana and son Dipak Pallana, Stephen Dignan and Brian Tenenbaum, and Eric Chase Anderson (Anderson's brother). Other frequent collaborators include writer Noah Baumbach (who co-wrote The Life Aquatic with Steve Zissou and Fantastic Mr. Fox, with Anderson co-producing his film The Squid and the Whale), Roman Coppola (as co-writer and second unit director), Owen Wilson (who co-wrote three of Anderson's feature films), cinematographer Robert Yeoman (A.S.C.), music supervisor Randall Poster, and composers Mark Mothersbaugh and Alexandre Desplat.

Actor/actress Bottle Rocket (1996) Rushmore (1998) The Royal Tenenbaums (2001) The Life Aquatic with Steve Zissou (2004) The Darjeeling Limited (2007) Fantastic Mr. Fox (2009) Moonrise Kingdom (2012) The Grand Budapest Hotel (2014) Isle of Dogs (2018)[61][62][63]
F. Murray Abraham Yes Yes
Waris Ahluwalia Yes Yes Yes
Bob Balaban Yes Yes Yes Yes
Adrien Brody Yes Yes Yes
Seymour Cassel Yes Yes Yes
Brian Cox Yes Yes
Willem Dafoe Yes Yes Yes
Michael Gambon Yes Yes
Jeff Goldblum Yes Yes Yes
Lucas Hedges Yes Yes
Anjelica Huston Yes Yes Yes
Harvey Keitel Yes Yes Yes
Frances McDormand Yes Yes
Bill Murray Yes Yes Yes Yes Yes Yes Yes Yes
Kunichi Nomura Yes Yes
Edward Norton Yes Yes Yes
Kumar Pallana Yes Yes Yes Yes
Jason Schwartzman Yes Yes Yes Yes Yes
Fisher Stevens Yes Yes
Tilda Swinton Yes Yes Yes
Andrew Wilson Yes Yes Yes
Luke Wilson Yes Yes Yes
Owen Wilson Yes Yes Yes Yes Yes Yes Yes
Frank Wood Yes Yes

Awards and nominations

Year Award Category Film Result
1996 MTV Movie Award Best New Filmmaker Bottle Rocket Won
Lone Star Film & Television Award Debut of the Year Shared with Luke Wilson & Owen Wilson Won
1998 Los Angeles Film Critics Association Award New Generation Award Bottle Rocket & Rushmore Won
1999 Lone Star Film & Television Award Best Director Rushmore Won
Best Writer Shared with Owen Wilson Won
National Society of Film Critics Award Best Screenplay Shared with Owen Wilson Won
Independent Spirit Award Best Director Won
2001 New York Film Critics Circle Award Best Screenplay The Royal Tenenbaums Won
2002 Academy Award Best Original Screenplay Shared with Owen Wilson Nominated
BAFTA Film Award Best Screenplay Shared with Owen Wilson Nominated
Chicago Film Critics Association Award Best Screenplay Shared with Owen Wilson Nominated
Online Film Critics Society Award Best Screenplay Shared with Owen Wilson Nominated
Phoenix Film Critics Society Award Best Screenplay Shared with Owen Wilson Nominated
Toronto Film Critics Association Award Best Screenplay Shared with Owen Wilson Nominated
Writers Guild of America Award Best Screenplay Shared with Owen Wilson Nominated
2003 Bodil Award Best American Film Nominated
DVD Premiere Award Best Audio Commentary Nominated
2005 Berlin International Film Festival Golden Bear The Life Aquatic with Steve Zissou Nominated
Golden Satellite Award Best Screenplay Shared with Noah Baumbach Nominated
2006 Independent Spirit Award Best Feature The Squid and the Whale Nominated
Golden Globe Award Best Motion Picture – Musical or Comedy Nominated
2007 Gijón International Film Festival Award Best Feature The Darjeeling Limited Nominated
Venice International Film Festival Award Golden Lion Nominated
Little Golden Lion Won
2008 Bodil Award Best American Film Nominated
2009 National Society of Film Critics Award Special Achievement Award Fantastic Mr. Fox Won
New York Film Critics Circle Awards Best Director Nominated
San Diego Film Critics Society Award Best Screenplay Shared with Noah Baumbach Won
San Francisco Film Critics Circle Award Best Screenplay Shared with Noah Baumbach Won
Southeastern Film Critics Association Award Best Screenplay Shared with Noah Baumbach Won
2010 Academy Award Best Animated Feature Nominated
Annie Award Best Writing in a Feature Production Shared with Noah Baumbach Won
Directing in a Feature Production Nominated
BAFTA Film Award Best Animated Film Nominated
Broadcast Film Critics Association Award Best Screenplay Shared with Noah Baumbach Nominated
Central Ohio Film Critics Association Award Best Screenplay Shared with Noah Baumbach Nominated
National Board of Review of Motion Pictures Award Special Achievement Award for Best Film Nominated
National Society of Film Critics Award Best Director Nominated
New York Film Critics Circle Award Best Director Nominated
Online Film Critics Society Award Best Screenplay Shared with Noah Baumbach Won
Producers Guild of America Award Best Animated Theatrical Motion Picture Shared with Allison Abbate and Scott Rudin Nominated
San Diego Film Critics Society Award Best Screenplay Shared with Noah Baumbach Won
San Francisco Film Critics Circle Award Best Original Screenplay Shared with Noah Baumbach Won
2012 Cannes Film Festival Palme d'Or Moonrise Kingdom Nominated
San Diego Film Critics Society Award Best Original Screenplay Shared with Roman Coppola Nominated
2013 Academy Award Best Original Screenplay Shared with Roman Coppola Nominated
Broadcast Film Critics Association Award Best Original Screenplay Shared with Roman Coppola Nominated
Golden Globe Award Best Motion Picture – Musical or Comedy Nominated
Independent Spirit Award Best Director Nominated
Best Screenplay Shared with Roman Coppola Nominated
2014 Berlin International Film Festival Golden Bear The Grand Budapest Hotel Nominated
Jury Grand Prix (Silver Bear) Won
Chicago Film Critics Association Awards Best Director Nominated
Best Original Screenplay Won
Dallas-Fort Worth Film Critics Association Awards Best Director Nominated
David di Donatello David di Donatello for Best Foreign Film Won
Detroit Film Critics Society Awards Best Director Nominated
Best Screenplay Nominated
Dublin Film Critics' Circle Awards Best Director Nominated
Florida Film Critics Circle Awards Best Director Nominated
Best Original Screenplay Won
Indiana Film Journalists Association Awards Best Original Screenplay Won
Los Angeles Film Critics Association Awards Best Director Runner-up
Best Screenplay Won
New York Film Critics Circle Award Best Screenplay Won
Phoenix Film Critics Society Awards Best Director Nominated
Best Original Screenplay Won
San Diego Film Critics Society Awards Best Director Nominated
Best Original Screenplay Nominated
San Francisco Film Critics Circle Best Original Screenplay Nominated
Southeastern Film Critics Association Awards Best Director 2nd Place
Best Original Screenplay Won
Washington D.C. Area Film Critics Association Awards Best Screenplay Nominated
San Francisco Film Critics Circle Award[64] Best Director Nominated
Best Original Screenplay Shared with Hugo Guinness Nominated
Online Film Critics Society Best Director Nominated
Best Screenplay Won
St. Louis Gateway Film Critics Association Awards Best Director Nominated
Toronto Film Critics Association Awards Best Director Nominated
Best Screenplay Won
2015 Academy Awards Best Picture Shared with Scott Rudin, Steven Rales and Jeremy Dawson Nominated
Best Director Nominated
Best Original Screenplay Shared with Hugo Guinness Nominated
Central Ohio Film Critics Association Awards Best Director Runner-up
Best Original Screenplay Runner-up
72nd Golden Globe Awards Best Director Nominated
Best Screenplay Nominated
Best Motion Picture – Musical or Comedy Won
Alliance of Women Film Journalists Best Director Nominated
Best Original Screenplay Nominated
Critics' Choice Movie Awards Best Picture Nominated
Best Director Nominated
Best Original Screenplay Nominated
Best Comedy Won
68th British Academy Film Awards Best Direction Nominated
Best Original Screenplay Won
4th AACTA International Awards Best Direction Nominated
Best Screenplay Nominated
Denver Film Critics Society Best Original Screenplay Nominated
67th Directors Guild of America Awards Outstanding Directing – Feature Film Nominated
Georgia Film Critics Association Awards Best Director Nominated
Best Original Screenplay Nominated
Houston Film Critics Society Awards Best Director Nominated
Best Original Screenplay Nominated
London Film Critics' Awards Director of the Year Nominated
Screenwriter of the Year Won
Location Managers Guild Awards Outstanding Locations in Period Film Won
National Society of Film Critics Awards Best Screenplay Won
Oklahoma Film Critics Circle Best Original Screenplay Won
Vancouver Film Critics Circle Awards Best Director Nominated
Best Screenplay Won
67th Writers Guild of America Awards Best Original Screenplay Won
2016 Location Managers Guild Awards Eva Monley Award Self Won
2018 Berlin International Film Festival Silver Bear for Best Director Isle of Dogs Won

Further reading


  1. ^ "The Unique Filmmaking Style of Wes Anderson". The Los Angeles Times. Archived from the original on October 25, 2013. Retrieved October 18, 2013. 
  2. ^ "Wes Anderson". Variety. Archived from the original on April 28, 2017. 
  3. ^ Tartaglione, Nancy (February 24, 2018). "Berlin Film Festival Winners: 'Touch Me Not' Is Golden Bear; Wes Anderson Takes Best Director For 'Isle Of Dogs' – Full List". Retrieved February 25, 2018. 
  4. ^ "The 21st Century's 100 greatest films". BBC. August 23, 2016. Archived from the original on January 31, 2017. Retrieved December 15, 2016. 
  5. ^ "Texas B. Anderson Realtor Biography". Greenwood King Properties. Archived from the original on September 20, 2015. Retrieved October 29, 2015. 
  6. ^ "Wes Anderson". Film Reference. 2010. Archived from the original on February 4, 2010. 
  7. ^ "Wes Anderson". Yahoo Movies. 2010. Archived from the original on December 25, 2011. 
  8. ^ "Wes Anderson returns to form with Mr Fox". The Times. 2009. 
  9. ^
  10. ^ a b c d Collin, Robbie (February 19, 2014). "Wes Anderson interview". The Daily Telegraph. Archived from the original on December 20, 2014. Retrieved December 19, 2014. 
  11. ^ a b c "Wild, Wild Wes". The New Yorker. November 2, 2009. Archived from the original on September 27, 2014. Retrieved December 19, 2014. 
  12. ^ "Printing - Wes Anderson - Interview Magazine". Interview Magazine. Archived from the original on October 14, 2016. Retrieved October 3, 2016. 
  13. ^ "Tour Wes Anderson's High School AKA the Set of Rushmore". The Atlantic. Archived from the original on July 2, 2012. Retrieved October 18, 2013. 
  14. ^ "Archived copy". Archived from the original on October 2, 2013. Retrieved October 17, 2013. 
  15. ^ "Bottle Rocket". Box Office Mojo. Archived from the original on September 30, 2007. Retrieved August 7, 2007. 
  16. ^ "Bottle Rocket". Rotten Tomatoes. Archived from the original on December 30, 2012. Retrieved December 26, 2012. 
  17. ^ "Film By Film: Wes Anderson On Wes Anderson". Empire Magazine. March 2014. Archived from the original on March 6, 2014. Retrieved March 6, 2014. 
  18. ^ "Rushmore". Rotten Tomatoes. Archived from the original on February 6, 2013. Retrieved December 26, 2012. 
  19. ^ Scorsese, Martin (March 2000). "Wes Anderson". Esquire. Archived from the original on January 30, 2012. Retrieved July 31, 2011. 
  20. ^ "EMPIRE's 500 Greatest Movies of All Time". EMPIRE. Archived from the original on July 22, 2012. Retrieved July 5, 2012. 
  21. ^ "Wes is having trouble with the reception". SCREEN Machine. Archived from the original on July 22, 2013. Retrieved July 5, 2012. 
  22. ^ Becker, Walter; Donald Fagen (August 2006). "Attention Wes Anderson". Steely Dan. Archived from the original on August 25, 2007. Retrieved August 22, 2007. 
  23. ^ "On Ray's Trail". The Statesman. Archived from the original on January 3, 2008. Retrieved October 19, 2007. 
  24. ^ "Wilson & Anderson reminisce over a cup of Darjeeling". Production Weekly. August 2006. Archived from the original on January 14, 2007. Retrieved August 22, 2007. 
  25. ^ "Wes Anderson". Los Angeles Times. March 8, 2012. Archived from the original on May 17, 2012. Retrieved May 20, 2012. 
  26. ^ Eisenberg, Eric. "Wes Anderson Says The Grand Budapest Hotel Is Mostly Set in the Late 1920s". Cinema Blend. Archived from the original on November 29, 2012. Retrieved November 18, 2012. 
  27. ^ Scott, A. O. (March 6, 2014). "Bittersweet Chocolate on the Pillow – Wes Anderson's 'Grand Budapest Hotel' Is a Complex Caper". New York Times. Archived from the original on October 22, 2014. Retrieved September 25, 2014. 
  28. ^ "IMDb: The Grand Budapest Hotel (2014) - Awards". Archived from the original on March 2, 2015. Retrieved March 7, 2015. 
  29. ^ "Wes Anderson to Direct Stop-Motion Animated Film About Dogs". October 12, 2015. Retrieved December 21, 2016. 
  30. ^ Derschowitz, Jessica (December 21, 2016). "Wes Anderson officially announces new animated film Isle of Dogs". Entertainment Weekly. Archived from the original on December 22, 2016. Retrieved December 21, 2016. 
  31. ^ Cabin, Chris (October 27, 2016). "Wes Anderson Confirms His Stop-Motion Animated Dog Movie Is In Production". Archived from the original on December 20, 2016. Retrieved December 21, 2016. 
  32. ^ Hayes, Britt (October 27, 2016). "Wes Anderson Is Currently Filming His New Stop-Motion Animated Movie About Dogs". Screen Crush. Archived from the original on October 28, 2016. Retrieved October 27, 2016. 
  33. ^ "Wes Anderson Honors Fellini in a Delightful New Short Film". Slate. November 12, 2013. Archived from the original on November 13, 2013. Retrieved November 12, 2013. 
  34. ^ "Wes Anderson's 5 Best Commercials". Indiewire. May 1, 2013. Archived from the original on June 30, 2013. Retrieved November 12, 2013. 
  35. ^ "Wes Anderson: "Almodóvar me influyó mucho para crear los Tenenbaums"". Retrieved 20 March 2018. 
  36. ^ "a review of wes anderson's the darjeeling limited « second floor". October 28, 2007. Archived from the original on January 4, 2008. Retrieved December 26, 2012. 
  37. ^ Seitz, Matt Zoller (April 6, 2009). "The Substance of Style, Pt 3. Examining the Wes Anderson–Hal Ashby connection". Moving Image Source. Archived from the original on March 21, 2015. Retrieved September 25, 2014. 
  38. ^ "'Moonrise Kingdom' Director Wes Anderson on 'Stealing' From Kubrick, Polanski". hollywoodreporter. Archived from the original on June 21, 2012. Retrieved February 20, 2013. 
  39. ^ Brody, Richard (November 2, 2009). "Wild, Wild Wes". The New Yorker. Archived from the original on September 27, 2014. Retrieved December 15, 2016. 
  40. ^ Redmond, Sean; Batty, Craig (April 9, 2014). "Wes Anderson is one of cinema's great auteurs: discuss". The Conversation. Archived from the original on December 20, 2016. Retrieved December 15, 2016. 
  41. ^ Frank, Priscilla (March 19, 2014). "Hypnotic Video Explores Wes Anderson's Quirky Obsession With Symmetry". The Huffington Post. Archived from the original on December 20, 2016. Retrieved December 15, 2016. 
  42. ^ Blume, Lesley M. M. (March 10, 2014). "What You Should Know About Wes Anderson". Vanity Fair. Archived from the original on December 25, 2016. Retrieved December 15, 2016. 
  43. ^ Klein, Joshua; et al. "Wes Anderson". They Shoot Pictures, Don't They?. Archived from the original on August 10, 2014. Retrieved July 28, 2014. 
  44. ^ Buono, Alex. "How We Did It: The Midnight Coterie of Sinister Intruders". Archived from the original on July 9, 2014. Retrieved July 28, 2014. 
  45. ^ Chabon, Michael. "Wes Anderson's Worlds". New York Review of Books. Archived from the original on July 29, 2014. Retrieved July 28, 2014. 
  46. ^ Mayshark, Jesse Fox. "Post-pop Cinema: The Search for Meaning in New American Film". Greenwood Publishing Group, 2007. ISBN 9780275990800. 
  47. ^ Vera, Noel. "Courtesan au chocolat". Businessworld. Archived from the original on September 23, 2015. Retrieved July 28, 2014. 
  48. ^ Moeckel, Casey. "The Music of Wes Anderson's Cinematic World". Retrieved July 28, 2014. 
  49. ^ Inman, Davis (January 2, 2012). "Jackson Browne, 'These Days'". American Songwriter. Archived from the original on October 15, 2014. 
  50. ^ Brody, Richard. "How "Moonrise Kingdom" Fits into Wes Anderson's Canon". The New Yorker. Archived from the original on October 3, 2013. Retrieved September 27, 2013. 
  51. ^ Brody, Richard. "Wild, Wild Wes". The New Yorker. Archived from the original on September 27, 2014. Retrieved February 28, 2015. 
  52. ^ "Celebrity Sightings - Day 2 - The 10th Rome Film Fest Photos and Images | Getty Images". Archived from the original on March 15, 2017. Retrieved March 14, 2017. 
  53. ^ Heyman, Marshall (December 20, 2015). "Holiday Window Gazing With Juman Malouf". Wall Street Journal. ISSN 0099-9660. Archived from the original on March 15, 2017. Retrieved March 14, 2017. 
  54. ^ ARTE Cinema (March 10, 2017), Leçon de cinéma par Wes Anderson - ARTE Cinema, archived from the original on August 10, 2017, retrieved March 14, 2017 
  55. ^ Amsden, David. "The Life Obsessive With Wes Anderson". New York. Archived from the original on November 11, 2013. Retrieved October 27, 2013. 
  56. ^ Kahn, Howie (February 26, 2014). "The Life Aesthetic With Wes Anderson". The Wall Street Journal. Archived from the original on January 2, 2015. Retrieved December 19, 2014. 
  57. ^ "Wes Anderson interview: 'I always try to do something different to what I've done before". Time Out Paris (in French). Archived from the original on March 15, 2017. Retrieved March 14, 2017. 
  58. ^ Standen, Dirk (October 19, 2010). "Paper Chase: The Art of Eric Chase Anderson". Archived from the original on February 22, 2014. Retrieved November 16, 2013. 
  59. ^ According to Matt Zoller Seitz, the author of The Wes Anderson Collection "Archived copy". Archived from the original on January 1, 2014. Retrieved December 27, 2013. 
  60. ^ "5 Signs You're Watching a Wes Anderson Movie". OMGList. March 25, 2008. Archived from the original on August 14, 2009. Retrieved October 17, 2009. 
  61. ^ Casey, Dan. "EXCLUSIVE: JEFF GOLDBLUM, BRYAN CRANSTON, AND MORE TO STAR IN WES ANDERSON'S STOP-MOTION ANIMATED DOG MOVIE". Nerdist. Archived from the original on October 13, 2015. Retrieved October 13, 2015. 
  62. ^ Perez, Rodrigo. "Wes Anderson's Next Movie Is A Stop-Motion Animated Film About Dogs; May Also Do An Anthology Movie". The Playlist. Archived from the original on October 11, 2015. Retrieved October 13, 2015. 
  63. ^ Jagernauth, Kevin. "Bill Murray Joins Wes Anderson's Stop-Motion Animated Movie, Says It's A "Japanese Story"". The Playlist. Indiewire. Archived from the original on December 6, 2015. Retrieved December 6, 2015. 
  64. ^ "2014 SAN FRANCISCO FILM CRITICS AWARDS:Full List of Nominees". San Francisco Film Critics Circle. 2014. Archived from the original on December 14, 2014. Retrieved December 14, 2014. 

External links

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