776 Moonrise Kingdom

[carax09]

Can anyone identify the first song in the trailer (not the Francoise Hardy)?

It's the New London Children's Choir performing Benjamin Britten's "Friday Afternoon, Op. 7: Cuckoo!". The album is Britten: A Ceremony of Carols.

Wonderful. Thanks, Jeff!

[swo17]

He has really committed to that font.

[Jeff]

He has really committed to that font.

He had it custom designed (naturellement). Probably just trying to get his money's worth!

[mfunk9786]

Gorgeous.

[med]

He has really committed to that font.

He had it custom designed (naturellement). Probably just trying to get his money's worth!

No more Futura? My only beef with it is it makes the small credits at the top hard to read. Pretty, otherwise.

[Jeff]

The film has been selected for opening night at Cannes.

Gorgeous.

Yeah, I love the illustration which has a much different feel than the artwork for his other films, yet still feels very Andersonian.

There is a ginourmous version of it here, so you can check out the details. The painting is by Michael Gaskell.

[godardslave]

Wes Anderson really likes the color yellow.

[Brian C]

The only problem I have with that poster is probably unavoidable, and that's the ratings/logos at the bottom. They seem pretty obtrusive since the two characters draw one's attention to the bottom of the poster, which in itself is unusual and thus a little bit jarring. Having the company logos down there makes it seem unbalanced.

Without the credits at the top or the logos at the bottom, though, it ought to make a really lovely DVD/BD cover if they continue using that art.

[mfunk9786]

Lordy, Wes Anderson sure does love the color yellow!

Wes Anderson really likes the color yellow.

We've got it, guys.

[domino harvey]

Lordy, Wes Anderson sure does love the color yellow!

Wes Anderson really likes the color yellow.

We've got it, guys.

[mfunk9786]

And of course in Canada, the whole thing's flip-flop

[Jeff]

Very, very brief interview (three questions total) with Wes Anderson and Edward Norton.

[antnield]

The British influences, for those who may not have heard of them, are both available on UK DVD: Melody (StudioCanal) and Black Jack (BFI).

[EvanProsofsky]

Super strange/exciting to me he decided to shoot on super16mm as opposed to his regular 35mm anamorphic approach. Wish he would go even further to break out of his shell, but, maybe its a start?

[feihong]

I liked Melody quite a lot. But that movie felt something like actual life on planet Earth, so the appeal to me may have come from that.

[Jeff]

14 new pics

some insight into what the soundtrack might hold

French version of the international poster (previous poster was the teaser)

Super strange/exciting to me he decided to shoot on super16mm as opposed to his regular 35mm anamorphic approach. Wish he would go even further to break out of his shell, but, maybe its a start?

This is Anderson's first period film, set in the summer of 1965. I'm guessing that he thought 16mm had the "vintage" feel he was after. They used this camera, made by the French company, Aaton. Though it's a modern camera, it looks pretty vintage itself with that big hunk of wood on it.

Barry Braverman was the second-unit DP. Here's his take on using Super 16.

[whaleallright]

Somebody should tell Wes Anderson about Roy Andersson's A Swedish Love Story--he'd probably love it.

[Jeff]

The official website has some new propaganda pieces/interviews:

That Special Sixties Summer (on capturing the period and the film's production design)
The Kids Are Just Right (an interview with the young leads)
A Magical Place (on the location settings + lots of cast and crew fawning over Anderson)
Following the Story's Thread (on the costumes)

[The Fanciful Norwegian]

This is apparently reviewed in the current (May/June) Film Comment. Is the issue in the wild yet?

[Jeff]

Dennis Lim's New York Times piece

video interview with Wes Anderson at Slate

[Finch]

Reactions seem positive so far:

Here's Dave Calhoun of Time Out:

It's so full of a joyous love for the medium and smart without being clever-clever. Its childishness, sense of innocence and eye for fun all make it a very easy film to love.

Peter Debruge of Variety:

A universally appealing tale of teenage romance cuts through the smug eccentricity and heightened artificiality with which Anderson has allowed himself to be pigeonholed.

Robbie Collin:

Adored Moonrise Kingdom. Anderson's best since Tenenbaums, but thematically and visually it's closest to Fox. Great opener.

Peter Bradshaw gives the film 4 out of 5 stars

[Calvin]

Here's the Press Conference

[Finch]

Slant's take

[Jeff]

Slant's take

Budd Williams must be on the same wavelength as mfunk.

Consider this a tween Pierrot le Fou

That's two years in a row of a very solid opening night film for Cannes. Most of the Moonrise reviews I've seen tweeted today have been very positive, placing it among Anderson's best films. Only those who are generally averse to his style (and nonsensically complain that Wes Anderson always makes movies in the style of Wes Anderson) have had anything negative to say.

It's 100% positive at Rotten Tomatoes right now with 10 reviews.

[mfunk9786]

The female lead's dress is definitely a Pierrot le Fou homage, and I'm looking forward to spotting more. Though I doubt they can shoehorn a gas station scene in when the two leads are too young to drive. But I can dream.