A Quote by Susan Sarandon
I think you have to be ready to switch gears and go with the team as a director, as opposed to superimposing your own strict idea of the story. There are very few directors that can micromanage and still come out with something that's living and breathing on a page. Wes Anderson is one of those.
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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.
If Wes Anderson has a very strong cast, he can direct the minutia of that story and still manage to have something that lives and breathes.
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.
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.
Even when he transposes Roald Dahl's 'Fantastic Mr. Fox,' he injects so much of his own personality and his own world that it becomes a Wes Anderson story, and you forget that Roald Dahl is behind the story. That's the proof of great directors to be able to digest and recreate sometimes a classic.
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.
Wes Anderson's mind must be an exciting place for a story idea to be born. It immediately becomes more than a series of events and is transformed into a world with its own rules, in which everything is driven by emotions and desires as convincing as they are magical.
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 don't card out my screenplays ever. I just have an idea I just sit down and write I don't edit. Sometimes the first draft will come out at 200 pages. I think and think and I go, "um this story is about the brother that appears on page 178." I go back and I rewrite.
There are a lot of directors I'd still love to work with. Paul Thomas Anderson is someone I'd love to work with. I think Alejandro Gonzalez Inarritu is very talented. Ang Lee is very talented. I mean, there are a lot of people. There are many great directors out there.
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.
My favorite movies are from directors that have a vision, like Wes Anderson or Tim Burton.
I think one of my favorite directors is P.T. Anderson - living directors, I should say. And Spike Jonze is one of my favorites, Gus Van Sant.
A lot of times I don't know if I trust the director to tell that film's story. Or I think it's inappropriate for a male director to tell a female story, or a white director to tell a black story. Everyone walks away from a movie differently, because you're relating it to your own life.
Yes, anyone can log onto your "anonymous" band's MySpace page and hear the music. So, in theory you have gotten your music in front of 5 billion people. The other thing is that something has to cause them to go to those bands MySpace page, and it's that reliance on taste makers or radio, that is still very much a part of how music is sold and marketed.
My roommate in college in Austin, Texas, was Wes Anderson. Wes always wanted to be a director. I was an English major in college, and he got us to work on a screenplay together. And then, in working on the screenplay, he wanted my brother, Luke, and me to act in this thing. We did a short film that was kind of a first act of what became Bottle Rocket.
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