Top 68 Quotes & Sayings by Wes Anderson

And Hackman had really choked up when he was telling it. It was very moving.

I guess when I think about it, one of the things I like to dramatise, and what is sometimes funny, is someone coming unglued. I don't consider myself someone who is making the argument that I support these choices. I just think it can be funny.

Every time you do a take on a movie, you're not sure if it's going to succeed. Even if you have a great cast, like we had, every scene you're kind of waiting for the release. 'Oh, yes; it happened. We got it!' There's always the possibility that it's just not going to work.

I have a way of filming things and staging them and designing sets. There were times when I thought I should change my approach, but in fact, this is what I like to do. It's sort of like my handwriting as a movie director. And somewhere along the way, I think I've made the decision: I'm going to write in my own handwriting.

I wouldn't say that I'm particularly bothered or obsessed with detail.

I've never had a movie that got great reviews. I've had movies that got different levels of good and bad reviews, but you can more or less count on plenty of bad reviews.

Sometimes when you're editing a movie, you have the thing that you don't expect - which is you make it longer and longer as you go along.

Any romantic feelings for a 12-year-old are like entering into a fantasy world.

My experience with casting children is that... the whole movie is going to rest on their shoulders, so you have to set aside time and wait for the perfect people to appear.

I don't know what is in store for the movie business any better than anybody else does, but it does seem like my kind of movies are a little trickier than it used to be - or maybe a lot trickier.

On Fantastic Mr. Fox, I got used to working with animated storyboards as a way of planning for the shoot. We did a lot of sequences that way with this movie. Partly as a result of that, I decided to build more sets in order to do certain shots.

Paris is a place where, for me, just walking down a street that I've never been down before is like going to a movie or something. Just wandering the city is entertainment.

When I see the first dailies on any movie, I usually feel that I had no idea how this combination of ingredients was going to mix together, what it was going to produce.

I'd never heard anything about this at all.

I love working with actors. That's what the set really is, for me. It's my time with the actors.

Kids are always open to anything. It's very rare that a kid isn't extremely eager to make you happy.

One of the things I enjoyed the most is just working as an actor.

The subject of an outsider who becomes obsessed.

Anytime I make a movie, I really have absolutely no idea how it's going to go over. I've had the whole range of different kinds of reactions.

That's the kind of movie that I like to make, where there is an invented reality and the audience is going to go someplace where hopefully they've never been before. The details, that's what the world is made of.

I have always wanted to work in the theater. I've always felt the glamour of being backstage and that excitement, but I've never actually done it - not since I was in 5th grade, really. But I've had many plays in my films. I feel like maybe theater is a part of my movie work.

Usually when I'm making a movie, what I have in mind first, for the visuals, is how we can stage the scenes to bring them more to life in the most interesting way, and then how we can make a world for the story that the audience hasn't quite been in before.

I usually set aside a lot of time in advance of a movie with important roles for kids to search, but when you have great ones, they can be a real ace in the hole.

There's no story if there isn't some conflict. The memorable things are usually not how pulled together everybody is. I think everybody feels lonely and trapped sometimes. I would think it's more or less the norm.

I will say that Edward Norton, who plays the scout master, would be a first-rate Eagle Scout. He's got all those techniques. If your plane crashes into the jungle somewhere, he would be the guy you would want to have with you.

When you're 11 or 12 years old, you can get so swept up in a book that you start to believe that the fantasy is reality. I think when you have a giant crush when you're in fifth grade, it becomes your whole world. It's like being underwater; everything is different.

It's not usually that great of an idea to read lots of reviews of your movies, because even if somebody's saying nice things, there'll still be something in there that pushes the wrong button, and it's not really that helpful.

If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.

A prototype is always more expensive than anything.

The kids are the ones that have a clarity about what they want. They don't have any wisdom, but they do have a clear understanding about what they want to have happen.

India is a place where one of the great pleasures for a foreigner is that you're constantly surprised. Everywhere you look is something that is either funny, or very moving, but there is always so much that is so unexpected.

I've always loved stop motion animation and I particularly wanted to do stop motion with puppets that have fur, for whatever reason that is.

the one thing I've observed over the years is the best way to get an actor to not want to play a certain role is to offer it to them. That makes them say, "Well, maybe it's not that good. These guys don't want me to do this..."

The animators bring their own spontaneity to it as well, because when they do a take of a shot it really is like just one continuous activity for them. They launch into it and do it, and they're not even quite sure how it's going to turn out when they're doing it. They're sort-of sculpting their way through a scene and trying to make this inanimate object alive.

I just want to make films that are personal, but interesting to an audience.

Mostly with commercial work, it isn't about personal vision. It's not a personal effort, it's work for hire. That's more my attitude with those. You just want to be a professional worker.

When you finish work, practically everybody in that place is going to watch a movie at night anyway. They're tired. They have dinner. They go up to their room. They're watching TV.

I chose philosophy because it sounded like something I ought to be interested in. I didn't know anything about it, I didn't even know what it was talking about. What I really spent my time doing in those years was writing short stories. There were all sorts of interesting courses, but what I really wanted to do was make stories one way or another.

You don't do background music the way a lot of more conventional films do. The music is often kind of a character in your films to the extent that sometimes you stop and watch someone perform a song.

I don't really look for challenges as much as I like adventures. Other than that I'm just trying to find stories I want to tell.

People seem to think that my movies are so carefully coordinated and arranged - and in a lot of ways, they are - but every single time I make a movie, I feel that every director makes these choices. You make choices about your script, you make choices about your actors, and how you're going to stage it, and how you're going to shoot it, and what the costumes are going to be like, and in every single detail, you make that decision. And for me, what ends up happening is, I wind up surprised at the combination of all these ingredients. It never is anything like what I expected.

I don't think any of us are normal people.

The things that are more my own style are something that I don't really have to think about. The only time I have to think about them is if I want to force myself not to do it the way I do it.

Some of the ideas are kind of inspired by the songs, and I always want to use music to tell the story and give the movie a certain kind of mood. That's always essential to me.

When something is discovered by people in movie theaters, it's discovered by people who are all together, and there's a sort of feeling of an event about it. And when it's on video, it's like something is being discovered in the library or something. It's like having a second life in public libraries. It's just like individuals, and it's less of a... We can't participate in it the same way.

When you're doing a live-action movie, you have your day set up and you're going to do this shot and this shot, and eventually the sun is going to go down. It's a sequential race to whatever is going to end the day.

With each movie I have a different set of inspirations.

What happened to your hand? It got hit by a mirror. How'd that happen? I lost my temper at myself.

The only thing that takes away from it is when they steal some music from one of my movies and put it in a TV commercial. I am not crazy about influencing TV commercials. But if I legitimately influence someone making a movie, I think that is really flattering.

I don't really wanna think about themes. I wanna just think about the experience of the movie. I feel like, as soon as I reduce it to a theme, once I write that sentence, it won't be that great. I feel like there's more potential for it to mean something interesting if I'm not forcing it to mean something I've already decided.

I want to try not to repeat myself. But then I seem to do it continuously in my films. It's not something I make any effort to do. I just want to make films that are personal, but interesting to an audience. I feel I get criticized for style over substance, and for details that get in the way of the characters. But every decision I make is how to bring those characters forward.

If I have ideas, I want to put them in the movie. It's not a minimalist approach at all but I feel like it's for the audience. It's about seeing how much texture we can give it and seeing how many things are there for people to latch on to... I just want to do it the way I want and I feel like it won't be helpful for me if I start worrying about that. I just have to follow my instincts. Everyone is going to respond differently to it and everybody's right - that's their point of view. That's how the story intersects with their lives.

Do you know how writers often say the characters take over... But that is more or less what it always feels like to me, too. Even though that's just a way of describing how your brain is working, it's still what you tend to feel.

I would like to do a movie in space, but I think it would be difficult to do it on location.

Any time someone doesn't like one on the first run, I hope they will give it another shot. At least we'll get another chance. But I do feel, in my approach, I am not really a minimalist. I don't like to leave out ideas that I think could add something to the story. Sometimes, you can't quite pick up on all of it in one sitting. It's not by design. But maybe it's a side effect of my approach.

I didn't think so much of him at first. But now I get it: he's everything that I'm not.

A lot of people have said my movies are all the same. But I don't actually make an effort to have a style. I'm usually just thinking of what can we do to make it funnier or more interesting or just kind of refine it and it ends up like that.

The movies I make tend not to be quite reality but the characters are inspired by real people and they're always very personal.

Animating is a very slow, pain-staking process and the animators become the actors at that point.

Paris is a place where, for me, just walking down a street that I've never been down before is like going to a movie.