Wes Anderson Interview | Masterclass on Filmmaking

Summary

In this candid conversation, the speaker reflects on their experiences with filmmaking, the influence of directors like Hitchcock, Spielberg, and Truffaut, and their personal evolution from wanting to be a director to becoming a writer. They discuss the impact of European cinema and literary influences on their work, the collaboration with actors like Jeff Goldblum and Gene Hackman, and their unique approach to directing. The conversation also touches on working with composers like Alexandre Desplat, the role of music in their films, and the evolution of the filmmaking process. Overall, it's an insightful exploration of creative processes, collaborations, and inspirations in the world of cinema.

Takeaways

• 😀 The speaker cites major film influences such as Alfred Hitchcock, Steven Spielberg, and François Truffaut, particularly from their later works and the impact of European cinema.
• 😀 Filmmaking is described as a chaotic, yet structured process where directors create systems to manage the inherent unpredictability of film production.
• 😀 The director emphasizes the importance of mentors in their career, particularly Kit Carson, James L. Brooks, and Polly Platt, who helped refine their filmmaking skills.
• 😀 The speaker highlights how the director-actor relationship varies with each actor, noting examples like Jeff Goldblum’s need for detailed direction and Gene Hackman’s preference for minimal interference.
• 😀 Collaboration with composers like Mark Mothersbaugh and Alexandre Desplat is essential to creating the right musical atmosphere, with Desplat contributing significantly to the score of 'Grand Budapest Hotel'.
• 😀 The process of choosing music for a film is often organic, sometimes even incorporating unconventional elements, like foot stomping or yodeling, to fit a scene's atmosphere.
• 😀 The creative philosophy is that the final film is a blend of diverse influences and experiences, from literature and international cinema to personal trips and encounters.
• 😀 The director emphasizes that film is not just about organizing chaos but about creating a new form of chaos that resonates with audiences.
• 😀 The speaker reflects on how long-term collaborations with a trusted group of actors, such as Bill Murray, Owen Wilson, and Jason Schwartzman, help create a consistent creative vision.
• 😀 The director expresses a preference for working without interference during filming, often avoiding 'cuts' to maintain focus, only stopping the action when absolutely necessary.
• 😀 The speaker mentions the importance of learning through mistakes and adjustments, as the process from script to final print involves continuous evolution and problem-solving.
• 😀 The experience of watching movies during production (like rushes or dailies) has changed over time, with filmmakers now viewing everything digitally and adjusting accordingly, a far cry from older, more cumbersome methods.

Q & A

How did the speaker's early experiences with film shape their interest in directing?

The speaker was influenced by filmmakers like Hitchcock, Spielberg, and Truffaut. Watching movies in a local video store, particularly the American Hitchcock films, made a significant impression on them, sparking an interest in filmmaking. They were particularly impacted by the idea that a director's name could appear above the title of a film, which was a new concept at the time.

What role did Hitchcock's films play in the speaker's early cinematic education?

Hitchcock’s films, specifically the Betamax videotapes released in America with his name above the title, played a pivotal role in the speaker's understanding of film. They discovered the idea that directors, like Hitchcock, could be as famous as the movie stars themselves, which inspired their curiosity and desire to become a director.

How did the speaker view the influence of European cinema on their work?

The speaker acknowledges that European cinema, particularly the works of directors like Truffaut, Bergman, and Fellini, had a significant influence on their filmmaking. They highlight how the cultural and stylistic aspects of European films shaped their creative vision, especially when making movies like 'Rushmore.'

What influences did the speaker mention as central to their filmmaking style?

The speaker references a variety of influences, including European filmmakers like Truffaut, as well as literary inspirations. They also mention American films and the works of directors such as John Woo, citing 'The Soufflé' and 'Barfly' as major influences. Their films blend different cinematic styles, influenced by both international and American cinema.

How does the speaker approach directing actors?

The speaker tailors their approach to each actor’s preferences. For instance, actors like Jeff Goldblum appreciate detailed direction, while others, like Gene Hackman, prefer less intervention. The speaker believes that some actors thrive with many takes, while others prefer to get it right on the first attempt.

What did the speaker find crucial when working with composers like Mark Mothersbaugh and Alexandre Desplat?

The speaker values the collaborative nature of working with composers. With Alexandre Desplat, for example, they enjoy an informal, fun process, and Desplat is open to creating unique parts, such as a foot-stomping section for the score. Music plays an important role in shaping the emotional tone of the film, and the speaker often works closely with composers to align the music with the narrative.

How does the speaker view the process of making a film in terms of chaos and order?

The speaker compares filmmaking to creating new chaos rather than simply organizing existing chaos. They enjoy developing systems to manage the chaos of filmmaking, particularly when working with a large team, and emphasize the importance of collaboration and constant problem-solving throughout the production process.

What is the speaker's stance on using existing music in films?

The speaker often integrates existing music into their films, as seen in 'The Grand Budapest Hotel,' where they used some Vivaldi and yodeling from a Werner Herzog film. The use of pre-existing music can sometimes complement the original score, enriching the film’s atmosphere.

How does the speaker view the process of rewriting and editing scripts?

The speaker describes the process of rewriting scripts as ongoing, with a focus on clarity and ensuring that the story can be followed easily. They see editing as a way to refine and clarify the vision, often revisiting the film until it aligns with their creative goals.

Why does the speaker choose not to watch rushes during production anymore?

The speaker no longer watches rushes during production because they believe the early footage is rarely what they expected. They feel that watching rushes can sometimes distract from the overall vision and prefer to focus on creating the final product. Instead, they rely on digital tools to review the footage after shooting.