Wesley Wales Anderson (born May 1, 1969) is an American film director, screenwriter, actor, and producer of features, short films and commercials. Anderson's films combine dry humor with poignant portrayals of flawed characters. He is also known for working with many of the same actors and crew on varying projects.
Tim Stipan, arguably the fastest-rising star of New York digital intermediate colorists worked with the Moonrise Kingdom's (2012) cinematographer, Bob Yeoman, ASC, and Mr. Anderson, to provide a warm nostalgic look for the film’s 1965 period and magical Northeastern coastal climes.
When he was editing Darjeeling, he convinced Fox Searchlight to rent him a suite at the Inn at Irving Place, an unmarked hotel on Gramercy Park designed to re-create an era of faded glamour that probably never actually existed. Given that Anderson owns a spacious loft in the East Village that doubles as a work space, and that the studio could have rented any number of generic editing rooms for significantly less money, the logic behind this could be considered questionable.
Does Wes Anderson Hate Dogs? These offhand and abrupt acts of canine disregard are examples of the slightly anti-social lack of sentimentality that runs through all of Anderson’s work. Critics who dwell on the exacting, detailed artifice of his fictional worlds often overlook the deeply sinister undercurrents of violence and suicide that they contain. Maiming and death are just as central to Anderson’s vision of things as are all the precise costumes that his characters wear. Misfortune comes just as suddenly to dogs as it does to humans. By including the beloved dog in this condition of life, he reminds us that no one is safe.
He is famed for his Mr. Ned corduroy suits, which he "keeps in rotation until they get burned-out and I retire them,"
Anderson, like Welles, is a visually bold, wunderkind director who has an affinity—some might say a weakness—for virtuoso shots, shots so logistically impressive that they momentarily and perhaps purposefully take the spotlight off the movie and shine it on the director.
(Wes Anderson) has already been nominated for a 2001 Academy Award for Best Original Screenplay for The Royal Tenenbaums and a 2010 Academy Award for Best Animated Feature for Fantastic Mr. Fox.
Supremely confident in his knowledge of film history and technique, he's a classic example of the sort of filmmaker that the Cahiers du cinéma critics labeled an auteur—an artist who imprints his personality and preoccupations on each work so strongly that, whatever the contributions of his collaborators, he deserves to be considered the primary author of the film.
Though he is originally from Texas, there is something distinctively European in his obsession with aesthetics: a belief that the way something looks is what dictates how it will make you feel. His impeccably composed wide-angle shots have the feeling of a childhood fantasy: wistful, more than a bit ridiculous, with a darkness creeping in at the edges.
Wes Anderson emerged in the late 1990s with a highly regarded low budget indie film, which led to a series of critical and box office hits of projects that were decidedly quirky and also featured “all star” casts of acting veterans and dynamic newcomers.
(Wes Anderson) grew up in Houston and at school, staged plays and experimented with Super 8 mm films. Studying philosophy at the University of Texas, he met future collaborator Owen Wilson (who was studying English) in a playwriting course.
Wes Anderson's "The Royal Tenenbaums" were inspired by J. D. Salinger's fictional Glass family. While perhaps not as fragile as Glass, most of the Tenenbaums seem depressed enough to swim into the abyss with the bananafish.