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Jeff wrote:

Michael Kerpan wrote:Jeff -- sounds like his methodology is pretty much similar to Ford and Ozu.

I love the image of John Ford toting around an iPad Mini.

Well, I wasn't thinking of THAT part of the methodology -- but otherwise I would agree.

If it was Naruse, however, it would be an iPad that he wouldn't let anyone else see. (Maybe Naruse only carried his little _paper_ notebook as a prop, and really just had everything in his head).

Michael Kerpan wrote:

Jeff wrote:

Michael Kerpan wrote:Jeff -- sounds like his methodology is pretty much similar to Ford and Ozu.

I love the image of John Ford toting around an iPad Mini.

Well, I wasn't thinking of THAT part of the methodology -- but otherwise I would agree.

You're absolutely right of course about the methodology, though I had never thought about Anderson in those terms before. They're all guys who have seen the movie played out frame-by-frame in their head and want those frames recreated precisely on set.

If it was Naruse, however, it would be an iPad that he wouldn't let anyone else see. (Maybe Naruse only carried his little _paper_ notebook as a prop, and really just had everything in his head).

Wasn't Ford known for that a little bit too? He'd walk through a scene's blocking without telling anyone what he was doing but not say anything or give any instructions or corrections.

Naruse would tell people where to stand and where to move, but didn't offer much other feedback. He apparently carried around an annotated shooting script -- but never let anyone else see it -- the cameramen were always trying to get peeks into this.

Ozu was much more specific, and -- if one method didn't work -- he'd try another (even using method-esque techniques as a last resort).

Teaser poster:

I can't believe you'd post this here and not even tell me/send it to me. How dare you.

P.S. how gorgeous is that

Has anyone figured out the average lag time of Wes' films from theater to Criterion?

FrauBlucher wrote:Has anyone figured out the average lag time of Wes' films from theater to Criterion?

An average wouldn't be of much relevance, considering that Criterion's arrangement with Buena Vista was much different than their arrangement with Fox Searchlight on The Darjeeling Limited. In fact, the timeline for Darjeeling is probably the only relevant reference for any forthcoming releases. The Criterion edition of that film was released three years after its theatrical date, so Fantastic Mr. Fox has already eclipsed that.

Anyway, it's a bit early to be anticipating Criterion's release of The Grand Budapest Hotel.

FakeBonanza wrote:Anyway, it's a bit early to be anticipating Criterion's release of The Grand Budapest Hotel.

Yeah, I know I'm jumping the gun. Especially, since Moonrise Kingdom needs to come first.

FrauBlucher wrote:Has anyone figured out the average lag time of Wes' films from theater to Criterion?

There is no average -- I mean there is, of course, but it's meaningless.

Bottle Rocket was 12.5 years, primarily due to Criterion not dealing with Sony before that. Rushmore was released on Criterion DVD about a year after the theatrical release and only about six months after the Disney DVD release, which I had stupidly purchased. Royal Tenenbaums and Life Aquatic were each released about six months after the theatrical release, because they were done in conjunction with Disney and were the only releases of the films. The Criterion release of Darjeeling Limited came three years after the theatrical release and 2.5 years after the Fox DVD. Fantastic Mr. Fox looks like it will be a little over four years after the theatrical release and a little less than three years after the Fox Blu/DVD release. I'm guessing that Moonrise Kingdom (even though it comes from Focus) will follow roughly the same three year gap as Darjeeling, and Fox's Grand Budapest will too.

EDIT: Bonanza beat me to it, and more succinctly.

flyonthewall2983 wrote:March 7th

I'm not quite sure what to make of that release date. I'm assuming that the film will debut a month earlier at Berlinale. I had thought that was a strong possibility since the film was shot there and it's sure to get a welcome reception.

At any rate, the trailer debuts tomorrow at the official site.

Looks like hilarious good fun!

Interesting that it's a murder mystery, that is certainly something new in Anderson's filmography (unless you count Life Aquatic). From the trailer it looks like Ralph Fiennes will show some great comedic talent here. I thought the film was in three different time periods (with three different ratios) so I'm a little confused as to why the trailer stayed in one. Anyway it looks gorgeous and seems to have that dash of Lubitch Mr. Anderson said to be aiming for.

And it looks wonderful. It appears ambitious in scale even for the director of The Life Aquatic. The March 7 release date does seem a bit curious, but hopefully this will get a big awards push next year.

I can't wait to find out more about roles we only get a glimpse of, such as Defoe, Abraham, and a tatted-up Harvey Keitel.

FakeBonanza wrote:The March 7 release date does seem a bit curious, but hopefully this will get a big awards push next year.

Based solely on the trailer I wonder if maybe Ralph Fiennes will be able to pull off what Bill Murray and Bruce Willis couldn't and get an acting nom for a Wes Anderson film. He's overdue for a win and the Academy already likes him and if he's as good in the film as a whole as he is in the trailer, it could be an easy possibility!

The first theatrical release I'm looking forward to for 2014. It looks beautiful!

The colors, locations, casting, and aspect ratios make it look like a Wes Anderson's Greatest Hits - and that couldn't make me any more excited.

I refuse to watch this trailer, but am heartened by the favorable reception to it.

Do I even want to ask

Ask Ralph Fiennes. He knows what he did. Seriously though, I just like to go into movies completely fresh.

So, obviously Tilda Swinton stepped into the role originally meant for Angela Lansbury.

I'm curious to see how Anderson manages as the sole screenwriter on this film, even with co-story credit going to artist Hugo Guinness. Anderson's writing process has long been an interest of mine and hopefully the Seitz book talks at length about how he collaborates with his co-writers and the ways they've influenced the finished film.

Superswede11 wrote:I thought the film was in three different time periods (with three different ratios) so I'm a little confused as to why the trailer stayed in one.

You see all three ratios when the trailer shows you all the cast members toward the end. It seems that the trailer is almost entirely focused on just one time period, as none of the actors framed in wider ratios (F. Murray Abraham, Jude Law, Jason Schwartzman, and Tom Wilkinson) appear anywhere else.

I think it looks pretty great!

Yes, all scenes with the "lobby boy" present take place would have to take place in the earliest (1.33) time period. F. Murray Abraham plays him as an adult (2.35), and that's him doing the voiceover. Jude Law and Jason Schwartzman are also apparently in the 2.35 time period. I can only tell for sure that Tom Wilkinson is in 1.85 time. Matthew Amalric may be too, but his background is too dark to be sure of the framing. It appears that every other character is from 1.33 time, so that must be the setting for the bulk of the film. Nice to see another major director framing a film in Academy.

EDIT: It actually appears that while the 1.33 is definitely the oldest time period, the 2.35 is the middle one, and 1.85 is present day. I believe Jude Law and Tom Wilkinson are playing the same character.