Wes Anderson Is Back With New Film ‘Isle of Dogs’

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Prepare to freak. Wes Anderson is back with a new movie that’s about the only thing better than Wes Anderson: dogs. In Isle of Dogs, the director returns to the stop-motion style he used in The Fantastic Mr. Fox, and goes science fiction, with a story set in a futuristic Japan.

An outbreak of “dog flu” prompts an evacuation of all dogs in Megasaki City to Trash Island, which gets renamed (you guessed it) the Isle of Dogs. The film will follow 12-year-old pilot Atari Kobayashi, the ward of corrupt Mayor Kobayashi, as he flies off to the Isle of Dogs in search of his bodyguard dog, Spots.

As usual, Anderson has brought together a whimsical, wild cast of friends for the new film. Isle of Dogs will star Edward Norton, Bill Murray, Scarlett Johansson, Bryan Cranston, Tilda Swinton, Greta Gerwig, Frances McDormand, Jeff Goldblum, Harvey Keitel, Liev Schreiber, F. Murray Abraham, Courtney B. Vance, Bob Balaban, and (seriously) fucking Yoko Ono.

Isle of Dogs is due March 23rd, 2018 – which means we have plenty of time to binge watch all of our old Wes Anderson favorites leading up to the release

 

From ‘Carol’ to ‘Heaven Knows What’: 2015’s Gotham Award Nominations

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This morning, the 2015 Gotham Awards nominations were announced and the nominees look to highlight a potpourri of some the year’s most beloved films from both renowned directors like Todd Haynes (Carol) and brilliant filmmakers on the rise like John Magary (The Mend). The ceremony will be held on November 30 at Cipriani Wallstreet with tributes to celebrated artists Robert Redford, Helen Mirren. and Haynes. Check out the full nominees list below.

Best Feature

Carol— Todd Haynes, director; Elizabeth Karlsen, Tessa Ross, Christine Vachon, Stephen Woolley, producers (The Weinstein Company)

The Diary of a Teenage Girl— Marielle Heller, director; Anne Carey, Bert Hamelinck, Madeline Samit, Miranda Bailey, producers (Sony Pictures Classics)

Heaven Knows WhatJosh and Benny Safdie, directors; Oscar Boyson, Sebastian Bear-McClard, producers (RADiUS)
+ read our interview with Safdie brothers here

SpotlightTom McCarthy, director; Michael Sugar, Steve Golin, Nicole Rocklin, Blye Pagan Faust, producers (Open Road Films)

TangerineSean Baker, director; Darren Dean, Shih-Ching Tsou, Marcus Cox & Karrie Cox, producers (Magnolia Pictures)
+read our interview with Baker here

Best Documentary

Approaching the ElephantAmanda Rose Wilder, director; Jay Craven, Robert Greene, Amanda Rose Wilder, producers (Kingdom County Productions)
+ read our interview with Wilder here

Cartel LandMatthew Heineman, director; Matthew Heineman, Tom Yellin, producers (The Orchard and A&E IndieFilms

Heart of a DogLaurie Anderson, director; Dan Janvey, Laurie Anderson, producers (Abramorama and HBO Documentary Films)

Listen to Me MarlonStevan Riley, director; John Battsek, RJ Cutler, George Chignell, producers (Showtime Documentary Films)

The Look of SilenceJoshua Oppenheimer, director; Signe Byrge Sørensen, producer (Drafthouse Films)
+ read our interview with Oppenheimer here

Bingham Ray Breakthrough Director Award

Desiree Akhavan for Appropriate Behavior (Gravitas Ventures)
+ read our interview with Akhavan here

Jonas Carpigano for Mediterranea (Sundance Selects)

Marielle Heller for The Diary of a Teenage Girl (Sony Pictures Classics)

John Magary for The Mend (Cinelicious Pics)
+ read our interview with Magary here

Josh Mond for James White (The Film Arcade)

Best Screenplay

Carol, Phyllis Nagy (The Weinstein Company)

The Diary of a Teenage Girl, Marielle Heller (Sony Pictures Classics)

Love & Mercy, Oren Moverman and Michael Alan Lerner (Roadside Attractions, Lionsgate, and River Road Entertainment)

Spotlight, Tom McCarthy and Josh Singer (Open Road Films)

While We’re Young, Noah Baumbach (A24)

Best Actor*

Christopher Abbott in James White (The Film Arcade)

Kevin Corrigan in Results (Magnolia Pictures)
+ read our interview with Corrigan here

Paul Dano in Love & Mercy (Roadside Attractions, Lionsgate, and River Road Entertainment)

Peter Sarsgaard in Experimenter (Magnolia Pictures)

Michael Shannon in 99 Homes (Broad Green Pictures)

Best Actress*

Cate Blanchett in Carol (The Weinstein Company)

Blythe Danner in I’ll See You in My Dreams (Bleecker Street)

Brie Larson in Room (A24 Films)

Bel Powley in The Diary of a Teenage Girl (Sony Pictures Classics)

Lily Tomlin in Grandma (Sony Pictures Classics)

Kristen Wiig in Welcome to Me (Alchemy)

Breakthrough Actor

Rory Culkin in Gabriel (Oscilloscope Laboratories)

Arielle Holmes in Heaven Knows What (RADiUS)

Lola Kirke in Mistress America (Fox Searchlight Pictures)
+ read our interview with Kirke here

Kitana Kiki Rodriguez in Tangerine (Magnolia Pictures)

Mya Taylor in Tangerine (Magnolia Pictures)

 

Shop the Wonderful Wacky World of Wes Anderson

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Immerse yourself in the world of Wes Anderson by shopping these wacky, wonderful, and colorful looks from our ebay collection.

Travel the world with vintage valises from Moonrise Kingdom and LVMH luggage of The Darjeeling Limited

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Perfect your retro record game with the rich film scores of Wes Anderson, just like Suzy in Moonrise Kingdom and Margot in The Royal Tenenbaums

 

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Fresh looks with wacky hats from the satirical world of Wes Anderson. Find a chapeau of your on from Rushmore’s Max Fischer, Eli Cash in The Royal Tenenbaums, or the young lovers of Moonrise Kingdom

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Take your pretty summer look from Margot and Richie Tenenbaum’s 1970s court side style, thanks to the films of Wes Anderson!

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Speaking of Margot Tenenbaum, let’s all agree that we can all take some style cues from Andersen’s cynical heroine. 

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From 1970s aviators and tinted retro frames, get your summer shade style from Adrien Brody in The Darjeeling Limited or Willem Dafoe and the rest of the nautical bunch in The Life Aquatic

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Top off your Wes Anderson collection with memorabilia from this aesthetically-pleasing films: retro posters, books on Wes’ style, film character accessories, and the vinyl soundtracks for your new record player—all with that Wes Anderson charm.

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Wes Anderson Sets Sail on the Queen Mary 2

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It looks like Wes Anderson better get out his best nautical trousers! In what the Guardian noted as a “piece of whimsy that could have come straight from one of his movies,” the beloved auteur will venture out into open waters with his record-breaking new film The Grand Budapest Hotel. Set to embark on the Queen Mary 2, he will be joined by friends and co-stars Tilda Swinton and Jason Schwartzman.

Leaving from New York on June 13th, the director and co. will arrive in London the follow week, where Roman Coppola will come onboard to join them for a question and answer session with passengers. Of course, this can all be yours for a fee starting at  £1,099. But if you can’t make it about the Queen Mary 2, you can still take a journey back through the wonderful world of Wes Anderson HERE.

On His Birthday, Celebrate the Wonderful World of Wes Anderson

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Earlier this spring, we were all treated to Wes Anderson’s  meticulously-detailed and frosting-coated Europe-on-the brink-of-destruction caper story, The Grand Budapest Hotel. But for the iconic filmmaker, who has been churning about brilliant stories, from Bottle Rocket to Budapest, for over twenty years now, the wonderful world of Wes has become a distinct and fanciful place in which we always look forward to and only grows with each new feature.

And to celebrate the auteur’s 45th birthday, let’s take a look back on some of our favorite moments on screen and behind the scenes from magical oeuvre of films.

BOTTLE ROCKET, SHORT FILM (1992)

 

THE ROYAL TENENBAUMS, ‘BY WAY OF THE GREEN LINE BUS’ (2001)

 

RUSHMORE, ‘REVENGE’ (1998)

 

MOONRISE KINGDOM, ‘SAM AND SUZY’S FIRST ENCOUNTER’ (2012)

 

BOTTLE ROCKET, ‘IT WAS FOR EXHAUSTION’ (1996)

 

HOTEL CHEVALIER (2007)

 

THE GRAND BUDAPEST HOTEL, ‘THE STORY’ (2014)

 

THE MAKING OF RUSHMORE (1998)

 

FANTASTIC MR. FOX, ‘WHACKBAT’ (2009)

 

MOONRISE KINGDOM BEHIND THE SCENES, BILL MURRAY’S TOUR (2012)

 

THE ROYAL TENENBAUMS, ‘INTRODUCTING THE TENENBAUMS’ (2001)

 

THE GRAND BUDAPEST HOTEL, ‘A PLAN FOR SURVIVAL’ (2014)

 

RUSHMORE YEARBOOK MONTAGE (1998)

 

FANTASTIC MR. FOX, ‘THREE REASONS’ (2009)

 

MOONRISE KINGDOM, ‘DANCE SCENE (2012)

 

THE GRAND BUDAPEST HOTEL, ‘B-ROLL’ (2014)

 

THE GRAND BUDAPEST HOTEL, ‘I’M NOT LEAVING’ (2014)

 

THE ROYAL TENENBAUMS, ‘NEEDLE IN THE HAY’ (2001)

 

Shopping (And Exploring) The Genius Of Wes Anderson’s Style

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Just recently, idiosyncratic director Wes Anderson released his latest mini world, “The Grand Budapest Hotel.” The film tells the story of an aging writer’s youthful encounter with fabled hotelier — and more precisely, the story of the latter’s adventures with his young pupil, the orphaned lobby boy Zero. It’s a layered, ornate dream-meets-slapstick vision of the end of an era (the death of true — perhaps always fanaticized? — grace and hospitality) due to the rise of fascism. Anderson takes us down a winding, Faberge egg-styled path — seeping inspiration from the stories of Viennese author Stefan Zweig and drawing us into a mood that is at once as surreal and oddly, hyper-imaginatively stylistic as it is vulnerably, sincerely (and to it’s own delight, comically) melancholic. In other words, “The Grand Budapest Hotel” is characteristically Anderson. The film is whimsical, grandiose, a quirky visual feast, and so is the intricately designed early 20th century Eastern European-influenced aesthetic of its protagonists’ apparel. Just take Adrien Brody’s character Dimitri’s dark, immaculately tailored, slim cut black suits, for example. His look is resolutely evil — the midnight black palette, the waxed mustache, the ZZ (i.e. SS) inscribed on his later costumes. You haven’t seen suits this sleek before, an aura so dour. It’s all built to fit Dimitri’s dark mastermind persona, and so chicly so.

Read more, see photos, and shop the Wes Anderson look… click here.

Now Streaming: The Soundtrack for Wes Anderson’s ‘The Grand Budapest Hotel’

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Wes Anderson’s confectionary caper story The Grand Budapest Hotel is a delicious treat that never stops moving. With its sprawling cast of Anderson-world characters, led by the sweetly scented Ralph Fiennes, the constant motion of the film—which  tells the adventures of Gustave H, a legendary concierge at a famous European hotel between the wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend—is given a wonderful undercurrent by its energetic yet emotionally stirring score, thanks to composer Alexandre Desplat. Alongside Desplat’s music are Russian folk songs and the Osipov State Russian Folk Orchestra to complete the soundtrack—all co-produced by Anderson and longtime collaborator Randall Poster.

And now, thanks to Pitchfork Advance, you can stream the soundtrack in its entirety HERE. Enjoy.

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Wes Anderson’s ‘The Grand Budapest Hotel’ Gets a New Trailer

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Back in 2012 we were all swept away by Moonrise Kingdom’s whimsical meditation on first love. And since, we’ve been anticipating what Wes Anderson would give us with his next ensemble feature, The Grand Budapest Hotel.  Starring  Ralph Fiennes, Edward Norton, Jason Schwartzman, Tilda Swinton, F. Murray Abraham, Mathieu Amalric, Adrien Brody, Willem Dafoe, Lea Seydoux, Jeff Goldblum, Jude Law, Harvey Keitel, Tom Wilkinson, Bill Murray and Owen Wilson, the film follows:

…the adventures of Gustave H, a legendary concierge at a famous European hotel between the wars, and Zero Moustafa, the lobby boy who becomes his most trusted friend.

The story involves the theft and recovery of a priceless Renaissance painting and the battle for an enormous family fortune — all against the back-drop of a suddenly and dramatically changing Continent.

And now you can meet its cast of characters in a new trailer for the feature below.

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Jagwar Ma Will Expand Your Vocabulary

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While we’ve seen plenty of excellent debut records come out this year, there may be none finer than Jagwar Ma’s Howlin. Hailing from Sydney, Australia, singer/guitarist Gabriel Winterfield and producer Jono Ma make dance rock like you’ve never heard it before. The band wants to resist the psychedelic label, so know this: you will hear the past on Howlin while feeling completely present.

It’s a powerfully engaging record, conjuring dancefloor bliss and tropical hues when those things are far out of reach. The lighthearted vibe they have offstage translates onto their radiant, joyful performances, where the duo’s joined by bassist Jack Freeman. Live, the pulsating urgency that drives tracks like “Uncertainty” and “The Throw” is even more magnetic, creating a truly transportive experience.

I talked to Jagwar Ma earlier this fall, on their first trip to the US. They’re currently on a more extensive tour of North America, and I’m already looking forward to the next time they come back. Howlin is out now on Mom + Pop.

What’s the biggest difference that you’ve seen so far in America?
Gabriel Winterfield:
I think Americans, in general, are quite aware of the fact that it’s America and that it’s quite a significant thing. Australians, on the other hand, are very much aware of the fact that they’re not significant at all. It’s a strange sort of novelty country in the global perspective, do you know what I mean? That’s of the main things. You guys are one of the main players, we’re just that fit sub that kind of just sits on the sidelines, waiting for a mention.
Jack Freeman: That, and you drive on the other side of the road.
GW: But that’s one of the little differences. Have you ever been to Australia?

No. Not going to lie, everything I know about Australia comes from a couple of my friends and Summer Heights High.
JF:
Summer Heights High is pretty close to the truth.
GW: Summer Heights High is quite accurate. I wouldn’t say Crocodile Dundee is, and I’m glad that’s kind of starting to be forgotten about.

Does coming here feel like a big milestone for you?
Everyone:
Yes.
GW: Last night, normally we’ll say something like, “It’s great to finally have made it here.” We said that at our first show in Paris, Berlin. I guess I was nervous, I didn’t even say anything about the fact that we were in New York and it was our first show in the US. It meant a lot to us, but we didn’t say anything.
Jono Ma: I said something about it, but I didn’t have a microphone, so no one heard. I just mumbled it.
GW: He said it in binary with his 808.
JM: I was doing it in morse code.

Jono, it’s cool to see someone doing everything you do without being hunched over a laptop the whole time.

JM: I love analog gear, and the way we did the record was very much analog. The laptop, we were using it like a tape machine, it was just recording stuff. But almost all the sounds are generated from samplers, 808s, voices, guitars. There’s very little midi instruments, software synths or anything like that. We wanted to carry that through to the live show as well. But obviously because it’s electronic music, you still need machines to do some of the work.

GW: Like Jono said, we use analog equipment but use the power of digital to organize, tame them.

JF: They’re all just little creatures.

Was that an approach that you particularly wanted to take, given the current state of dance music?
JM:
It wasn’t a conscious thing, I’ve always been drawn to the process of analog, the way you interact with a drum machine or a synth. It’s just more tactile, the way you interact with it, compared to scrolling around with a mouse on a computer screen to generate sounds. It’s no better or worse, it’s just what we prefer.

You also get caught up in defying genre descriptions.
GW:
I think that’s winning, to be honest. That’s a victory, if you can dodge pigeonholes for as long as possible, that’s a good game to keep up. I almost feel like that’s going to be something of a status quo for my career, to constantly be changing and moving around. At the same time, people will still always find a way, and obviously there are the comparisons to the early 90s and the dance thing in Europe and parts of the UK. But we never want to downplay it, because I think that would be apologetic for your influences. But at the same time, you don’t want to exaggerate your influences. Ultimately, with musicians, I find it really interesting that people are curious as to what music you listen to. Like yeah, I listen to x, y, and z, but I’m not here because of what I listen to, I’m here because of what I make. We’d always rather be talking about the creative side, we could talk about that for ages, as opposed to talking about our favorite Queens of the Stone Age record or something.
JF: It’s something we talk about a lot.
JM: Which was a big influence on the record, quite clearly.

Well, what’s something you like that people might not expect you to like?
GW:
I dunno, I was wearing a Metallica t-shirt last night. I don’t think you’d hear that.
JM: I’m wearing an In Utero t-shirt right now.
JF: I’m wearing a Polo t-shirt.

JM: You probably wouldn’t expect us to be into heavier bands like that. I think we all kind of grew up listening to punk and the harder rock side of things. We were all in bands before this, and those bands were quite indie-based, shoegaze-y, classic sort of guitar bands. That might not be obvious in a record like Howlin.

I’ve met other artists who were like, “Yeah, we used to be in a hardcore band, but now we love Fleetwood Mac and Michael McDonald.”
JM:
That’s not the case [with us], but that’s also not that uncommon. When you’re younger, you grow up listening to your parents’ music when you’re really young, and then you hit a point where you want to react against everything you listened to with them, and you find the antithesis. For some people, that’s metal or industrial or grunge, or techno or rave music or whatever. Then you almost kind of return to your younger roots. I definitely felt I went on that journey, I got massively into punk rock because my parents hated it and it felt like it was mine. Then I slowly started going back to listening to the Beatles again and appreciating them. I used to listen to them with my parents when I was really young. You don’t lose the influences. I don’t turn back and regret anything I’ve loved, it’s like you’re just building up this giant catalog of musical influences and things that help shape you as a musician, as a listener and a creator.

Why do you think psychedelic music is having a moment right now?
GW:
Do you think it is? I don’t know.
JM: I don’t think it’s having a moment.
GW: I think the word is having a moment.
JM: It’s not the music.
JF: There’s also something to be said about the fact that it’s being reinterpreted with modern technology, which makes it sound very different from the way it used to sound.
GW: Speaking of genres and things like that, I think with the word psychedelic, you have to take it back to the meaning of the word. Psychedelic music should be early Pink Floyd, 13th Floor Elevators, that was it. “Incense and Peppermints,” Strawberry Alarm Clock. That is psychedelic music, I don’t think Animal Collective is psychedelic, or Tame Impala. And us as well, we get comparisons to psychedelic stuff, but there have to be other words in the vocabulary that you can use to describe music.
JM: I don’t think psychedelia ever left. Once it arrived, I feel like there was definitely a symbiosis with technology that allowed [it to continue]. Originally, you just had acoustic instruments, then the electric guitar was created, and amps and effects are created, echoes and reverbs and all these ways of manipulating sound. We created synthesizers, that was a technological advancement that happened. Naturally, people are going to dismantle and misuse technology in interesting and creative ways. I think the fruit of that is often out-there music, or elements of it in pop, even. After psychedelia arrived, it went through loads of transformations and house music arrived, acid house. I don’t think it’s come back, I think it’s always been in music since electricity in music became the norm.
GW: It’s like that Paul McCartney record, I think it’s McCartney II, and it’s got “Check My Machine.” He wrote that song just checking a tape or something like that, it’s kind of the best song on the record because it’s a creative misuse of technology. And it’s obviously Paul McCartney as well, that doesn’t hurt.

Is Paul your favorite Beatle?
GW:
No, mine would have to be Stuart Sutcliffe.
JF: Best-looking one by far.
GW: I dunno, I don’t have a favorite Beatle.
JM: Mine’s George Martin, certainly.
GW: Exactly. John for Monday, Paul for Tuesday, George for Wednesday, Ringo for Thursday, George Martin for Friday, Ravi Shankar for Saturday, and Epstein on Sundays. Epstein and little cocktails on Sunday.

You also paid tribute to the Cardigans a little bit, with the “Lovefool” cover in your show. Is that something you normally do?
GW:
We’ve done it a few times. I just kind of like how that lyric in the original song is so sincere, then when you sing it over something else, it sounds really sarcastic. I enjoy that.

Is that sort of vibe something you want to channel in your own music, something that could sound two different ways?
GW:
Yeah, I think you always look for a few meanings in lyrics so they can be left to interpretation. But no, we’re not going to sound like the Cardigans anytime soon.

I did get this very optimistic feeling out of your record.
GW:
I think generally, the tone of the record is quite optimistic. Lyrically speaking, there’s quite an element of melodrama. I don’t want to say it, but I guess people like how in Kanye’s records, that is melodrama, but it’s also incredibly entertaining. Not to be taking a leaf out of that book, but I do admire his writing skills as much as Dylan, he’s kind of as good. When we writing these songs, the thoughtful lyrics were always pushing this sort of hyperbole. When I write the lyrics, they go through lots of transitions, so they’ll start out meaning one thing, but then we’ll cut them up and another meaning will rise out of it. I think it was Bowie who used to cut newspapers up and that would be a lyric or tapestry. Then it speaks the voice, not just of you, but there’s a social conscious that’s actually not you. There’s actually a Google software that’s like writelyrics.com and it’ll just randomly pick a bunch of words from the internet and start writing poetry via the internet. You can pick trends that you want, so if you want to write about love or Halloween, it’ll pick out all of these words and you get this sort of beat poetry that is bang on. It’s systemically identifying what would actually resonate with people now. I do it sometimes because I’m bored, there’s something cool about that.

Speaking of melodrama, you dressed up as Team Zissou from The Life Aquatic for a festival this summer. Are you big Wes Anderson fans?
JF:
Yeah, we like The Life Aquatic.
JM: I loved Fantastic Mr. Fox as well.

Is that your favorite of his films?
JF:
The Life Aquatic would be my favorite, I’d say.
JM: But I really liked Moonrise Kingdom.
GW: I find him a bit annoying, to be honest, but I did like him a lot when…
JF: It’s very teenage.
GF: Yeah, like The Royal Tenenbaums is perfect for that.
JF: When you’re 14, yeah.
GW: And when you’re discovering bands like the Velvet Underground, his soundtracks are a great gateway to the whole New York thing, which he likes to to showcase a lot. But I’m almost tempted to say his best work may be behind him. Don’t you think? He’s got an amazing body of work. If he didn’t do another thing, it would be [fine].

Personally, Rushmore is my favorite, which was his second film.
GW:
Yeah, after Bottle Rocket. Rushmore‘s good.
JM: Rushmore‘s great, but I felt like The Life Aquatic was kind of the opus to me, it started to expand visually. Rushmore would almost work as a play, it’s a great script and storyline, but The Life Aquatic had all the elements of a great film. Visually, it was incredible.
GW: Totally, The Life Aquatic is a straight-up screenplay, because it’s contained on one set pretty much throughout the whole thing.

Except when they get taken to the pirate island and the other ship.
JM:
Ping Island, which is also known as Australia.
GW: Which is why we’re so upbeat!