A Quote by Steve Erickson

All of Wes Anderson's films are confections, memoirs created in cinematic snow globes, with the subtext that memory is the most extraordinary confection of all. — © Steve Erickson
All of Wes Anderson's films are confections, memoirs created in cinematic snow globes, with the subtext that memory is the most extraordinary confection of all.
I'm, like, the most insane Wes Anderson fan - his films are pretty much my inner landscapes. I just love him to pieces.
I love Wes Anderson films, which are quirky and funny.
Wes Anderson's films, 6-year-olds are crazy about them.
I want to work with Wes Anderson, Paul Thomas Anderson, the Coen Brothers, or Spike Jonze.
There are a few directors as a young person where I was kind of like, 'Well, these are a sure bet.' The Coens, Paul Thomas Anderson, Wes Anderson.
The idea of working with David Fincher or Paul Thomas Anderson or Wes Anderson or Scorsese or Spielberg or any of the guys I really idolize is a dream for me.
I even think the commercial element of new American directors is really fertile right now. There are a lot of filmmakers with very particular visions, like Sofia Coppola and Wes Anderson and P.T. Anderson and Alexander Payne and Peter Sollett and Harmony Korine and Vincent Gallo. At least they're making films that they choose to make, and they're on their own. That's positive to me. This is not a dead period for American cinema at all.
The most obvious difference between writing novels and memoirs is that my memoirs are true stories, and explore certain experiences I've lived, and thus operate within the boundaries of memory and fact.
There's no one type of film that I like watching. I loved 'Tropic Thunder' and the first 'Austin Powers,' and then 'The Godfather Parts I' and 'II,' 'There Will Be Blood,' Wes Anderson films.
I think Woody Allen calls it 'anxiety of influence.' When you're in your formative years and you watch a movie that makes you want to make movies... For Wes Anderson, it's Truffaut. I'm sure for P.T. Anderson it was Scorsese and Jonathan Demme.
We are all looking for something of extraordinary importance whose nature we have forgotten; I am writing the memoirs of a man who has lost his memory.
I moved out to L.A. to be a filmmaker or director. I didn't even think about doing comedy or even acting. I wanted to be like Paul Thomas Anderson or Wes Anderson, but I wasn't going to a lot of comedy.
Wes Craven is obviously a horror film icon so I was definitely very interested in bringing something back to life that Wes had created.
We are shocked and saddened by Bob Casale's passing. He not only was integral in DEVO's sound, he worked over twenty years at Mutato, collaborating with me on sixty or seventy films and television shows, not to mention countless commercials and many video games. Bob was instrumental in creating the sound of projects as varied as Rugrats and Wes Anderson's films. He was a great friend. I will miss him greatly.
Obviously, the cinematography of films is art, just as a still shot can be art. If I'm watching a Wes Anderson movie, the colour palettes alone, and the way they're painted, could be art. With music, you're a little bit limited, of course, because it's only audio.
There really isn't a dream role, but there's a dream situation where I could work with a director that I idolize. So, the idea of working with David Fincher or Paul Thomas Anderson or Wes Anderson or Scorsese or Spielberg or any of the guys I really idolize is a dream for me.
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