list http://www.spout.com/ Recent community activity around Rushmore on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Rushmore/128810/default.aspx Title: Rushmore
Year: 1998
Director: Wes Anderson
Plot: After the highly acclaimed independent film Bottle Rocket, director Wes Anderson followed up with a quirky Touchstone Studios film entitled Rushmore. Written by Anderson and friend Owen Wilson (an actor in Armageddon and Anaconda), they created the story of Max Fischer, a highly eccentric 15-year-old boy who attends the tenth grade at Rushmore Academy. Played by Jason Schwartzman (Talia Shire's son and Francis Ford Coppola's nephew), Max is a poor student with big dreams and a love of extracurricular activities. Max is editor of the school newspaper and yearbook, president of the chess, astronomy, French, and German clubs, captain of the fencing team, and director of the school play. Max is also a compulsive liar, telling everyone that his barber father (Seymour Cassel) is really a brain surgeon. Suddenly Max falls in love with Miss Cross (Olivia Williams), a first-grade teacher at the school. He also makes a new friend in business tycoon Mr. Blume (Bill Murray), an eccentric millionaire who also loves Miss Cross. The love triangle heats up as Max refuses to believe that his age has anything to do with Miss Cross refusing his romantic advances. Also Max's scheme to erect an aquarium on the school baseball diamond gets him booted out of Rushmore Academy. As his life crumbles around him, he is forced to grow up and accept the consequences of his actions and his lies. He throws himself more into his extracurricular activities, hoping to redeem himself by staging the most ambitious school play ever attempted. ~ Arthur Borman, All Movie Guide
Times Tagged: 125
Number of Lists: 145
Number of blog posts: 18
Number of discussion threads: 16
SpoutRating: 4
]]>Mon, 03 Aug 2009 18:13:48 GMTRushmore1998Wes AndersonAfter the highly acclaimed independent film <a href=/films/93086/default.aspx style='text-decoration:underline'>Bottle Rocket</a>, director <a href="/players/P___263477/default.aspx" style='text-decoration:underline'>Wes Anderson</a> followed up with a quirky Touchstone Studios film entitled Rushmore. Written by Anderson and friend <a href="/players/P___200996/default.aspx" style='text-decoration:underline'>Owen Wilson</a> (an actor in <a href=/films/114669/default.aspx style='text-decoration:underline'>Armageddon</a> and <a href=/films/110904/default.aspx style='text-decoration:underline'>Anaconda</a>), they created the story of Max Fischer, a highly eccentric 15-year-old boy who attends the tenth grade at Rushmore Academy. Played by <a href="/players/P___263441/default.aspx" style='text-decoration:underline'>Jason Schwartzman</a> (<a href="/players/P____65369/default.aspx" style='text-decoration:underline'>Talia Shire</a>'s son and <a href="/players/P____85868/default.aspx" style='text-decoration:underline'>Francis Ford Coppola</a>'s nephew), Max is a poor student with big dreams and a love of extracurricular activities. Max is editor of the school newspaper and yearbook, president of the chess, astronomy, French, and German clubs, captain of the fencing team, and director of the school play. Max is also a compulsive liar, telling everyone that his barber father (<a href="/players/P____11636/default.aspx" style='text-decoration:underline'>Seymour Cassel</a>) is really a brain surgeon. Suddenly Max falls in love with Miss Cross (<a href="/players/P___233155/default.aspx" style='text-decoration:underline'>Olivia Williams</a>), a first-grade teacher at the school. He also makes a new friend in business tycoon Mr. Blume (<a href="/players/P___103861/default.aspx" style='text-decoration:underline'>Bill Murray</a>), an eccentric millionaire who also loves Miss Cross. The love triangle heats up as Max refuses to believe that his age has anything to do with Miss Cross refusing his romantic advances. Also Max's scheme to erect an aquarium on the school baseball diamond gets him booted out of Rushmore Academy. As his life crumbles around him, he is forced to grow up and accept the consequences of his actions and his lies. He throws himself more into his extracurricular activities, hoping to redeem himself by staging the most ambitious school play ever attempted. ~ Arthur Borman, All Movie Guide125Tag Target (>10)14518164http://www.spout.com/ProductImages/t06472z9o4z.jpghttp://www.spout.com/films/Rushmore/128810/default.aspxFilm http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_September_7_Infidelity/625/43857/1/ShowPost.aspx Post By: Risselada
Post To: Weekly Theme
Post Date: 9/10/2009 2:06:12 PM
Body: [quote user="mercurial"] Awesome topic. Probably my favorite film about cheating / having an affair is Dressed to Kill. The first twenty, thirty minutes of the film is so insane, so mind blowingly intense - a woman in an unhappy marriage is hooked into a quickie with a stranger and . . . I can't say anymore because it's just so awesome you have to watch for yourself. True Lies had fun with the typical affair plot with Jamie Lee Curtis wanting more from her marriage and toying with the idea of having an affair with sleazy Bill Paxton. Of course there is Fatal Attraction which made every man think twice before committing adultery. Dave is a great film about the president of the United States having an affair and his staff having to cover it up in an absurd yet amusing way. Monsoon Wedding dealt with a woman dealing with an arranged marriage and the other man she is madly in love with. American Beauty was another film about a bored suburban marriage falling apart. Rushmore had that great little love triangle with Bill Murray and Jason Schwartzman duking it out. More when I think of 'em. [/quote] Oh boy. It would seem weird for me to say something like "my favorite film about cheating / having an affair is..." because I realize a lot of times any kind of affair / infidelity / promiscuity in movies turns me off. At least when I am supposed to be sympathetic to the characters. That's just me. And I realize it's a thing that really turns me off to a lot of movies that some peopel otherwise thing are great. But that's why we are all different I guess! Two movies I saw recently that both have "brief" in the title came to mind. David Lean's Brief Encounter and Vittorio De Sica's A Brief Vacation. They are also both similar in that they deal with good women with no so perfect husbands (but who do love them) getting sucked into affairs with much more appealing men, but not going as far as they could have before retracting. I liked them both well enough. They say that Brief Encounter is still the best classis "chick flick" that a lot of guys seem to like as well. The Coen brothers first movie Blood Simple deals with an affair which results in some death and violence like a lot of their subsequent films. And Kubrick's final film Eyes Wide Shut seems to be a warning against even taking the first steps towards the world of infidelity. Emery, I see you mention Romance & Cigarettes so often I don't know why I haven't seen it yet. But I trust you, and I'm curious to see what Turturro did with these great actors too. Hopefully it will rise to the top of my Netflix queue soon.
]]>Thu, 10 Sep 2009 18:06:12 GMTRisseladaWeekly Theme9/10/2009 2:06:12 PM[quote user="mercurial"] Awesome topic. Probably my favorite film about cheating / having an affair is Dressed to Kill. The first twenty, thirty minutes of the film is so insane, so mind blowingly intense - a woman in an unhappy marriage is hooked into a quickie with a stranger and . . . I can't say anymore because it's just so awesome you have to watch for yourself. True Lies had fun with the typical affair plot with Jamie Lee Curtis wanting more from her marriage and toying with the idea of having an affair with sleazy Bill Paxton. Of course there is Fatal Attraction which made every man think twice before committing adultery. Dave is a great film about the president of the United States having an affair and his staff having to cover it up in an absurd yet amusing way. Monsoon Wedding dealt with a woman dealing with an arranged marriage and the other man she is madly in love with. American Beauty was another film about a bored suburban marriage falling apart. Rushmore had that great little love triangle with Bill Murray and Jason Schwartzman duking it out. More when I think of 'em. [/quote] Oh boy. It would seem weird for me to say something like "my favorite film about cheating / having an affair is..." because I realize a lot of times any kind of affair / infidelity / promiscuity in movies turns me off. At least when I am supposed to be sympathetic to the characters. That's just me. And I realize it's a thing that really turns me off to a lot of movies that some peopel otherwise thing are great. But that's why we are all different I guess! Two movies I saw recently that both have "brief" in the title came to mind. David Lean's Brief Encounter and Vittorio De Sica's A Brief Vacation. They are also both similar in that they deal with good women with no so perfect husbands (but who do love them) getting sucked into affairs with much more appealing men, but not going as far as they could have before retracting. I liked them both well enough. They say that Brief Encounter is still the best classis "chick flick" that a lot of guys seem to like as well. The Coen brothers first movie Blood Simple deals with an affair which results in some death and violence like a lot of their subsequent films. And Kubrick's final film Eyes Wide Shut seems to be a warning against even taking the first steps towards the world of infidelity. Emery, I see you mention Romance &amp; Cigarettes so often I don't know why I haven't seen it yet. But I trust you, and I'm curious to see what Turturro did with these great actors too. Hopefully it will rise to the top of my Netflix queue soon. http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_September_7_Infidelity/625/43832/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 9/9/2009 4:05:16 PM
Body: Awesome topic. Probably my favorite film about cheating / having an affair is Dressed to Kill. The first twenty, thirty minutes of the film is so insane, so mind blowingly intense - a woman in an unhappy marriage is hooked into a quickie with a stranger and . . . I can't say anymore because it's just so awesome you have to watch for yourself. True Lies had fun with the typical affair plot with Jamie Lee Curtis wanting more from her marriage and toying with the idea of having an affair with sleazy Bill Paxton. Of course there is Fatal Attraction which made every man think twice before committing adultery. Dave is a great film about the president of the United States having an affair and his staff having to cover it up in an absurd yet amusing way. Monsoon Wedding dealt with a woman dealing with an arranged marriage and the other man she is madly in love with. American Beauty was another film about a bored suburban marriage falling apart. Rushmore had that great little love triangle with Bill Murray and Jason Schwartzman duking it out. More when I think of 'em.
]]>Wed, 09 Sep 2009 20:05:16 GMTmercurialWeekly Theme9/9/2009 4:05:16 PMAwesome topic. Probably my favorite film about cheating / having an affair is Dressed to Kill. The first twenty, thirty minutes of the film is so insane, so mind blowingly intense - a woman in an unhappy marriage is hooked into a quickie with a stranger and . . . I can't say anymore because it's just so awesome you have to watch for yourself. True Lies had fun with the typical affair plot with Jamie Lee Curtis wanting more from her marriage and toying with the idea of having an affair with sleazy Bill Paxton. Of course there is Fatal Attraction which made every man think twice before committing adultery. Dave is a great film about the president of the United States having an affair and his staff having to cover it up in an absurd yet amusing way. Monsoon Wedding dealt with a woman dealing with an arranged marriage and the other man she is madly in love with. American Beauty was another film about a bored suburban marriage falling apart. Rushmore had that great little love triangle with Bill Murray and Jason Schwartzman duking it out. More when I think of 'em. http://www.spout.com/groups/Movie_Polls/Which_of_these_film_directors_with_the_name_Anders/657/43311/1/ShowPost.aspx Post By: Risselada
Post To: Movie Polls
Post Date: 7/29/2009 1:50:50 PM
Body: Please reference this thread for the rules of this group. Again it's kind of an arbitrary comparison I know, but I still thought it was interesting how many Andersons there were as famous directors. I know Roy Andersson has an extra "s" in it, but as far as I know it's pronounced the same. Please vote only once in each poll. Some of the movies from these directors: Lindsay Anderson - This Sporting Life, If...., O Lucky Man! Paul Thomas Anderson - Boogie Nights, Magnolia, There Will Be Blood Paul W.S. Anderson - Event Horizon, Resident Evil, AVP: Alien vs. Predator Wes Anderson - Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou Roy Andersson - A Swedish Love Story, Songs from the Second Floor, You, the Living
]]>Wed, 29 Jul 2009 17:50:50 GMTRisseladaMovie Polls7/29/2009 1:50:50 PMPlease reference this thread for the rules of this group. Again it's kind of an arbitrary comparison I know, but I still thought it was interesting how many Andersons there were as famous directors. I know Roy Andersson has an extra "s" in it, but as far as I know it's pronounced the same. Please vote only once in each poll. Some of the movies from these directors: Lindsay Anderson - This Sporting Life, If...., O Lucky Man! Paul Thomas Anderson - Boogie Nights, Magnolia, There Will Be Blood Paul W.S. Anderson - Event Horizon, Resident Evil, AVP: Alien vs. Predator Wes Anderson - Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou Roy Andersson - A Swedish Love Story, Songs from the Second Floor, You, the Living http://www.spout.com/blogs/karina/archive/2009/1/15/39556.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 1/15/2009 10:01:24 AM
Body: The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog » Karina Longworth
]]>Thu, 15 Jan 2009 15:01:24 GMTKarinaKarina on SpoutBlog1/15/2009 10:01:24 AM The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/1/15/39555.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/15/2009 10:01:12 AM
Body: The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog
]]>Thu, 15 Jan 2009 15:01:12 GMTSpoutBlogSpoutBlog on spout.com1/15/2009 10:01:12 AM The Vicious Kind, a love triangle drama starring Adam Scott and Brittany Snow, directed by Lee Toland Krieger and executive produced by Neil LaBute, is described in the always remarkable Sundance catalogue as “a glimpse into the soul of a damaged man whose obstinate defense mechanisms are laid bare by his fractured relationships.” We subjected Krieger to the 4 Questions We Ask Everyone, and he divulged about his unusual choice of film stock and taking cues from Cassavetes, and twice implied seething hatred for Paris Hilton. Tell us about your movie: who did you work with, what did you shoot on, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. My film is called The Vicious Kind and it stars Adam Scott, Brittany Snow, Alex Frost and JK Simmons. We shot the film on 35mm—Kodak’s Vision 1, specifically.  It’s something I very proud of.  Maybe the first film on Vision 1 since the eighties. In part, I wanted to make The Vicious Kind because I’ve long been a fan of the transgressive qualities in John Cassavetes’ films, and I wanted to make a film that felt somewhat reckless.  I liked the idea of a story and characters that didn’t necessarily fall under the “indiewood” category, and didn’t pull any punches.  Similar to Cassavetes’ approach in “Faces,” I wanted to make a film that would provide a setting where my lead actors could run a bit wild. I like to sell The Vicious Kind as The Squid & The Whale meets In the Company of Men. What that description doesn’t tell you is that the film is a redemption tale in which the lead, Caleb, played by Adam Scott, is a recluse and somewhat of a misanthrope.  Anyone who’s seen Step Brothers knows Adam can play “the asshole you love to hate” perfectly.   I think for people that see my film they’re going to discover Adam is an phenomenally sophisticated actor who can texture a performance in such a way that he’s menacing and perverse, and at the same time vulnerable and endearing. If you funded your film through a “day job” or through working on projects that were not your own, tell us about that. If not, tell us a story from your past work life, before you became a professional filmmaker. I’ve been lucky to not have too many “real jobs”.  I interned a lot during film school at various production companies.  I spent my time there reading scripts and answering phones, but I was terrible because I was constantly trying to either work on my own material or stealing production books in an effort to educate myself.  I’ve also spent time creating original content for MySpace.  Low points included doing shows on both the Hilton and Kardashian sisters.  Those were days where you go home and try to figure out how to apply to law school. Have you been to Sundance before? If so, tell us your best moment (or worst, which ever is funnier). If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I’ve never been to Sundance, and, based on impressions I’ve been given, I’m most looking forward to freezing my ass off as I try to get into screenings/dinners/parties (even my own) and totally striking out.  Then, just as I’m about to give up, Paris Hilton strolls by (through the snow) in a skirt and five-inch stilettos and walks right in without any credentials whatsoever.  At which point I can tell whoever is next to me, “I didn’t need to leave LA to watch Paris Hilton pass the line I’m standing in.” Let’s get hypothetical: You’re on death row. The night of your execution, you’re allowed to watch any two films of your choice. What would you pick for your last-night-on-Earth double feature? This is a brutal question.  The two that come to mind now would be Jules et Jim and then Rushmore—in that order.  Both films are romantic in their own quirky way, and they both make me feel wonderful.  I like the idea of feeling the way those films make me feel before I depart. Originally posted on:SpoutBlog http://www.spout.com/groups/Best_movie_quotes/Re_Favorite_Quotes_from_Wes_Anderson_Films/17/39275/1/ShowPost.aspx Post By: Tenenbaums
Post To: Best movie quotes
Post Date: 1/8/2009 4:31:34 PM
Body: Oh, man...where to start? Bottle Rocket Anthony: One morning, over at Elizabeth's beach house, she asked me if I'd rather go water-skiing or lay out. And I realized that not only did I not want to answer THAT question, but I never wanted to answer another water-sports question, or see any of these people again for the rest of my life. Rushmore Max: The secret, I don't know... I guess you've just gotta find something you love to do and then... do it for the rest of your life. For me, it's going to Rushmore. Royal Tenenbaums Royal: This is my adopted daughter, Margot Tenenbaum. Life Aquatic Klaus: Who the shit is Kingsley Zissou? Darjeeling Limited Jack: I love you, too, but I'm gonna mace you in the face!
]]>Thu, 08 Jan 2009 21:31:34 GMTTenenbaumsBest movie quotes1/8/2009 4:31:34 PMOh, man...where to start? Bottle Rocket Anthony: One morning, over at Elizabeth's beach house, she asked me if I'd rather go water-skiing or lay out. And I realized that not only did I not want to answer THAT question, but I never wanted to answer another water-sports question, or see any of these people again for the rest of my life. Rushmore Max: The secret, I don't know... I guess you've just gotta find something you love to do and then... do it for the rest of your life. For me, it's going to Rushmore. Royal Tenenbaums Royal: This is my adopted daughter, Margot Tenenbaum. Life Aquatic Klaus: Who the shit is Kingsley Zissou? Darjeeling Limited Jack: I love you, too, but I'm gonna mace you in the face! http://www.spout.com/blogs/spoutblog/archive/2009/1/6/39158.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/6/2009 4:00:59 PM
Body: Criterion, who had already shown the Wes Anderson love with their Rushmore, The Royal Tenenbaums and The Life Aquatic discs, announced back in 2007 that they were going to be putting out an edition of Bottle Rocket. This was met with much joy, especially because the previously released version, which came out back in 1996, was about as bare bones as you could get. The only real special feature it could claim was widescreen on one side of the disc, and full screen on the other. Big whoop. The new version, which just came out in late 2008 has a ton of features, and is available in both standard and Blu-ray editions. But it also contains one of the single most sour notes ever hit in an Anderson DVD. It’s so extremely painful that it makes the package almost worth avoiding. Just to be fair, here’s a list of everything the new edition of Bottle Rocket includes: a new digital transfer, approved by Wes Anderson and director of photography Robert Yeoman DTS HD 5.1 soundtrack Commentary track from Owen Wilson and Wes Anderson The Making of Bottle Rocket documentary with interviews from the actors, director, and producer James L. Brooks, directed by Barry Braverman The original 13 minute Bottle Rocket short film Eleven deleted scenes Storyboards and location photos Photographs by Laura Wilson The Shafrazi Lectures, No 1: Bottle Rocket, a sort of scholarly lecture about the movie Murita Cycles a 1978 short film from Barry Braverman Altogether, that’s a lot of Bottle Rocketry for anyone. But the biggest draw for most people will be the new transfer, and the commentary from Wilson and Anderson, who also wrote the film. You think they’d have some interesting insights into the making of this film. After all, Wilson and Anderson have known each other since college, and have collaborated on several films together. Instead what you get is a sleepy commentary from Wilson, with Anderson constantly prodding him and desperately trying to add some value to the track. At one point Anderson asks Wilson if he got the suggested questions or topics that were sent to him, in case they ran into long silences on the commentary, to which Wilson replies, “No. What questions?” Unfortunately, it ends up sounding like someone from Criterion called them that morning, and said “Oh, we need to record you guys in about two hours.” Both Wilson and Anderson sound pretty much bored by the entire process, and there are several moments where vast expanses of silence pass by like icebergs in the night. Even if they ran out of stuff to talk about from Bottle Rocket, couldn’t they just shoot the breeze? No funny stories from the set? No anecdotes about all the Wilson brothers? No, instead you get stuff like Wilson saying to Anderson, “Hey, isn’t that your hair in that shot?” Why not just feature Anderson by himself? He did a great solo job on The Royal Tenenbaums commentary. I don’t know much about the history of DVD authoring, so I’m not sure if there’s ever been a time when a DVD producer has gone back to the talent to say “I’m sorry, this just isn’t usable. Can you guys try that again?” The only commentary that comes to mind that is this inexplicably bad is from The Goonies, when Sean Astin has to leave in the middle because he had to attend a dinner with Joe Pantoliano. No kidding. The other extras on the disc almost make up for this, particularly the eleven deleted scenes. There’s a scene called “Temple Nash Jr.” where Dignan, Bob, and Anthony are asking all kinds of gun questions of a redneck gun nut. It’s hilarious enough to be a standalone short film. Most directors comment on deleted scenes, but sadly Anderson doesn’t chime in on why these were cut. I’m assuming it must have been for time. The Wilsons’ mother Laura, a professional photographer, took photos during the making of the short film and during its Sundance run, and also documented the crew’s initial meetings at Columbia Studios. These are shot in black and white, and they look terrific. There’s something about young Wes Anderson with his shock of Eraserhead hair that smacks of an Ivy League prep school, even though he was born and raised in Texas. Plus, seeing the pure joy on both Anderson and Wilson’s faces as they jump Toyota-commercial style off of the Columbia steps is a treat. The only bad thing about the doc The Making of Bottle Rocket is that it’s only 26 minutes long. Filmmaker and longtime friend of the Wilson/Anderson set Barry Braverman gets pretty much everyone involved in the film on camera, and the best quote comes from James Caan, who says about his experience working on the movie, “Well, it was like three days. It was like being in the left hand corner of the Hollywood Squares or something.” There are some great remembrances in this that aren’t in the commentary track, and it’s also been shot in high-def widescreen as well. It’s too bad they couldn’t have made this feature length. Also included on the disc is a short film from Braverman, this one made in 1978. It’s called Murita Cycles, and is about Braverman’s father who ran a bicycle shop on Staten Island for years, and Wilson and Anderson both said it was one of their inspirations for the Bottle Rocket short. It’s a touching look at an eccentric guy who goes from normal father to packrat kook and is documented and interviewed by his son. The Shafrazi Lectures, No 1: Bottle Rocket is an 11-minute, very strange discussion of the film from Tony Shafrazi, the owner of the Shafrazi Gallery in New York. He’s the artist who spray painted “KILL LIES ALL” on top of Picasso’s “Guernica” in the Museum of Modern Art in 1974. It’s a near-incoherent praise of the film, and he compares it to films like East of Eden and Breathless, while displaying scenes on sheets of paper that he’s holding up in a dark room. It’s hard to decide if it’s sincere or not, since they including fake Charlie Rose style interviews from “The Peter Bradley Show” on the Tenenbaums disc. It’s almost worth watching just for the sheer bizarre factor. “I don’t like all this serious stuff,” Shafrazi remarks at one point. There’s one other special feature nearly as painful as the commentary, but for different reasons. That’s an anamorphic test scene that was shot when they considered shooting the movie in the widescreen Panavision format. It looks completely gorgeous, and would have made Bottle Rocket even prettier than it already is. Granted, it’s a fairly perfect movie by my standards, but the movie geek in me yearns for a non-existent widescreen version of this to get unearthed sometime. Maybe in an alternate universe. DVD booklets are not always worth remarking on, but this one includes Dignan’s complete 75-Year Plan along with essays from James L. Brooks and Martin Scorsese, all done in Dignan’s handwriting, which I assume is from illustrator Ian Dingman. If I admit that I’m giving serious consideration to scanning and framing the 75-Year Plan, then at least I’m on the first step to recovery from Anderson addiction. Originally posted on:SpoutBlog
]]>Tue, 06 Jan 2009 21:00:59 GMTSpoutBlogSpoutBlog on spout.com1/6/2009 4:00:59 PMCriterion, who had already shown the Wes Anderson love with their Rushmore, The Royal Tenenbaums and The Life Aquatic discs, announced back in 2007 that they were going to be putting out an edition of Bottle Rocket. This was met with much joy, especially because the previously released version, which came out back in 1996, was about as bare bones as you could get. The only real special feature it could claim was widescreen on one side of the disc, and full screen on the other. Big whoop. The new version, which just came out in late 2008 has a ton of features, and is available in both standard and Blu-ray editions. But it also contains one of the single most sour notes ever hit in an Anderson DVD. It’s so extremely painful that it makes the package almost worth avoiding. Just to be fair, here’s a list of everything the new edition of Bottle Rocket includes: a new digital transfer, approved by Wes Anderson and director of photography Robert Yeoman DTS HD 5.1 soundtrack Commentary track from Owen Wilson and Wes Anderson The Making of Bottle Rocket documentary with interviews from the actors, director, and producer James L. Brooks, directed by Barry Braverman The original 13 minute Bottle Rocket short film Eleven deleted scenes Storyboards and location photos Photographs by Laura Wilson The Shafrazi Lectures, No 1: Bottle Rocket, a sort of scholarly lecture about the movie Murita Cycles a 1978 short film from Barry Braverman Altogether, that’s a lot of Bottle Rocketry for anyone. But the biggest draw for most people will be the new transfer, and the commentary from Wilson and Anderson, who also wrote the film. You think they’d have some interesting insights into the making of this film. After all, Wilson and Anderson have known each other since college, and have collaborated on several films together. Instead what you get is a sleepy commentary from Wilson, with Anderson constantly prodding him and desperately trying to add some value to the track. At one point Anderson asks Wilson if he got the suggested questions or topics that were sent to him, in case they ran into long silences on the commentary, to which Wilson replies, “No. What questions?” Unfortunately, it ends up sounding like someone from Criterion called them that morning, and said “Oh, we need to record you guys in about two hours.” Both Wilson and Anderson sound pretty much bored by the entire process, and there are several moments where vast expanses of silence pass by like icebergs in the night. Even if they ran out of stuff to talk about from Bottle Rocket, couldn’t they just shoot the breeze? No funny stories from the set? No anecdotes about all the Wilson brothers? No, instead you get stuff like Wilson saying to Anderson, “Hey, isn’t that your hair in that shot?” Why not just feature Anderson by himself? He did a great solo job on The Royal Tenenbaums commentary. I don’t know much about the history of DVD authoring, so I’m not sure if there’s ever been a time when a DVD producer has gone back to the talent to say “I’m sorry, this just isn’t usable. Can you guys try that again?” The only commentary that comes to mind that is this inexplicably bad is from The Goonies, when Sean Astin has to leave in the middle because he had to attend a dinner with Joe Pantoliano. No kidding. The other extras on the disc almost make up for this, particularly the eleven deleted scenes. There’s a scene called “Temple Nash Jr.” where Dignan, Bob, and Anthony are asking all kinds of gun questions of a redneck gun nut. It’s hilarious enough to be a standalone short film. Most directors comment on deleted scenes, but sadly Anderson doesn’t chime in on why these were cut. I’m assuming it must have been for time. The Wilsons’ mother Laura, a professional photographer, took photos during the making of the short film and during its Sundance run, and also documented the crew’s initial meetings at Columbia Studios. These are shot in black and white, and they look terrific. There’s something about young Wes Anderson with his shock of Eraserhead hair that smacks of an Ivy League prep school, even though he was born and raised in Texas. Plus, seeing the pure joy on both Anderson and Wilson’s faces as they jump Toyota-commercial style off of the Columbia steps is a treat. The only bad thing about the doc The Making of Bottle Rocket is that it’s only 26 minutes long. Filmmaker and longtime friend of the Wilson/Anderson set Barry Braverman gets pretty much everyone involved in the film on camera, and the best quote comes from James Caan, who says about his experience working on the movie, “Well, it was like three days. It was like being in the left hand corner of the Hollywood Squares or something.” There are some great remembrances in this that aren’t in the commentary track, and it’s also been shot in high-def widescreen as well. It’s too bad they couldn’t have made this feature length. Also included on the disc is a short film from Braverman, this one made in 1978. It’s called Murita Cycles, and is about Braverman’s father who ran a bicycle shop on Staten Island for years, and Wilson and Anderson both said it was one of their inspirations for the Bottle Rocket short. It’s a touching look at an eccentric guy who goes from normal father to packrat kook and is documented and interviewed by his son. The Shafrazi Lectures, No 1: Bottle Rocket is an 11-minute, very strange discussion of the film from Tony Shafrazi, the owner of the Shafrazi Gallery in New York. He’s the artist who spray painted “KILL LIES ALL” on top of Picasso’s “Guernica” in the Museum of Modern Art in 1974. It’s a near-incoherent praise of the film, and he compares it to films like East of Eden and Breathless, while displaying scenes on sheets of paper that he’s holding up in a dark room. It’s hard to decide if it’s sincere or not, since they including fake Charlie Rose style interviews from “The Peter Bradley Show” on the Tenenbaums disc. It’s almost worth watching just for the sheer bizarre factor. “I don’t like all this serious stuff,” Shafrazi remarks at one point. There’s one other special feature nearly as painful as the commentary, but for different reasons. That’s an anamorphic test scene that was shot when they considered shooting the movie in the widescreen Panavision format. It looks completely gorgeous, and would have made Bottle Rocket even prettier than it already is. Granted, it’s a fairly perfect movie by my standards, but the movie geek in me yearns for a non-existent widescreen version of this to get unearthed sometime. Maybe in an alternate universe. DVD booklets are not always worth remarking on, but this one includes Dignan’s complete 75-Year Plan along with essays from James L. Brooks and Martin Scorsese, all done in Dignan’s handwriting, which I assume is from illustrator Ian Dingman. If I admit that I’m giving serious consideration to scanning and framing the 75-Year Plan, then at least I’m on the first step to recovery from Anderson addiction. Originally posted on:SpoutBlog http://www.spout.com/groups/Best_movie_quotes/Re_Favorite_Quotes_from_Wes_Anderson_Films/17/38488/1/ShowPost.aspx Post By: movierabble
Post To: Best movie quotes
Post Date: 12/17/2008 1:53:29 PM
Body: [quote user="rjsprague"] If you don't know who Wes Anderson is, perhaps you know his movies. Bottle Rocket Rushmoore Royal Tenenbaums Life Aquatic Darjeeling Limited I wanted to compile a collection of everyone's favorite quotes from Wes Anderson's movies. I'll start off with one of my favorites from Royal Tenenbaums by Bill Murray's character when Margot (Gwenyth) tells him she's not sure if she wants to be with him anymore and he says in a monotone voice: "Well I wanna die." What's your favorite Wes Anderson quote? [/quote] Bottle Rocket: My name is Digman, man. Rushmore: O. R. they. The Royal Tennenbaums: That's jsut dog blood. The Life Aqutic: Do the interns get glocks? The Darjeeling Limited: How does a train get lost? It's on rails.
]]>Wed, 17 Dec 2008 18:53:29 GMTmovierabbleBest movie quotes12/17/2008 1:53:29 PM[quote user="rjsprague"] If you don't know who Wes Anderson is, perhaps you know his movies. Bottle Rocket Rushmoore Royal Tenenbaums Life Aquatic Darjeeling Limited I wanted to compile a collection of everyone's favorite quotes from Wes Anderson's movies. I'll start off with one of my favorites from Royal Tenenbaums by Bill Murray's character when Margot (Gwenyth) tells him she's not sure if she wants to be with him anymore and he says in a monotone voice: "Well I wanna die." What's your favorite Wes Anderson quote? [/quote] Bottle Rocket: My name is Digman, man. Rushmore: O. R. they. The Royal Tennenbaums: That's jsut dog blood. The Life Aqutic: Do the interns get glocks? The Darjeeling Limited: How does a train get lost? It's on rails. http://www.spout.com/groups/Best_movie_quotes/Re_Favorite_Quotes_from_Wes_Anderson_Films/17/38448/1/ShowPost.aspx Post By: jambox83
Post To: Best movie quotes
Post Date: 12/16/2008 12:41:46 PM
Body: Rushmore Max: Were you in the shit? Herman: Yeah, I was in the shit. LOVE IT. Life Aquatic Steve: Intern! Get me another Campari. [quote user="rjsprague"] If you don't know who Wes Anderson is, perhaps you know his movies. Bottle Rocket Rushmoore Royal Tenenbaums Life Aquatic Darjeeling Limited I wanted to compile a collection of everyone's favorite quotes from Wes Anderson's movies. I'll start off with one of my favorites from Royal Tenenbaums by Bill Murray's character when Margot (Gwenyth) tells him she's not sure if she wants to be with him anymore and he says in a monotone voice: "Well I wanna die." What's your favorite Wes Anderson quote? [/quote]
]]>Tue, 16 Dec 2008 17:41:46 GMTjambox83Best movie quotes12/16/2008 12:41:46 PMRushmore Max: Were you in the shit? Herman: Yeah, I was in the shit. LOVE IT. Life Aquatic Steve: Intern! Get me another Campari. [quote user="rjsprague"] If you don't know who Wes Anderson is, perhaps you know his movies. Bottle Rocket Rushmoore Royal Tenenbaums Life Aquatic Darjeeling Limited I wanted to compile a collection of everyone's favorite quotes from Wes Anderson's movies. I'll start off with one of my favorites from Royal Tenenbaums by Bill Murray's character when Margot (Gwenyth) tells him she's not sure if she wants to be with him anymore and he says in a monotone voice: "Well I wanna die." What's your favorite Wes Anderson quote? [/quote] http://www.spout.com/groups/Movie_Polls/Re_What_is_your_favorite_major_Bill_Murray_role_ou/657/37898/1/ShowPost.aspx Post By: SkyPilot
Post To: Movie Polls
Post Date: 12/3/2008 3:15:35 PM
Body: I voted for Bob Harris, but if this poll went back to Rushmore (1998) I would definitely vote for Mr. Bloom. I still need to see Broken Flowers and City of Ember.
]]>Wed, 03 Dec 2008 20:15:35 GMTSkyPilotMovie Polls12/3/2008 3:15:35 PMI voted for Bob Harris, but if this poll went back to Rushmore (1998) I would definitely vote for Mr. Bloom. I still need to see Broken Flowers and City of Ember. http://www.spout.com/members/0/tags/love/MemberTagFilms.aspxlove
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