list http://www.spout.com/ Recent community activity around The Royal Tenenbaums 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/The_Royal_Tenenbaums/201507/default.aspx Title: The Royal Tenenbaums
Year: 2001
Director: Wes Anderson
Plot: Director Wes Anderson and his longtime friend and writing partner Owen Wilson follow up Bottle Rocket (1996) and Rushmore (1998) with this similarly offbeat comedy about a dysfunctional family reunion. Royal Tenenbaum (Gene Hackman) was a successful attorney who had three children with his wife Etheline (Anjelica Huston), an archaeologist. Each of the Tenenbaum kids was a precocious genius: Chas (Ben Stiller) made a killing as a child investor. Richie (Luke Wilson) was a junior tennis champ and three-time U.S. Nationals winner. The adopted Margot (Gwyneth Paltrow) was a playwright who won a 50,000-dollar Braverman Grant in the ninth grade. When Royal abruptly left his family, however, it was the beginning of two decades of betrayal and failure that would scar the Tenenbaums for life. Their past resentments are bitterly held against Royal when he suddenly reappears, claiming to have six weeks to live and a desire to reconnect with his family. Typically, Royal's story is a sham, but his presence and sincere desire for absolution soon have a profound effect on the Tenenbaums, who are each dealing with thwarted desires and relationships. Among them are Richie's lifelong love for Margot, who's unhappily married to Raleigh St.Clair (Bill Murray) and Etheline's eccentric engagement to Henry Sherman (Danny Glover), who wishes to marry her. The Royal Tenenbaums also co-stars Owen Wilson and features narration provided by Alec Baldwin. ~ Karl Williams, All Movie Guide
Times Tagged: 220
Number of Lists: 168
Number of blog posts: 19
Number of discussion threads: 17
SpoutRating: 4
]]>Mon, 17 Aug 2009 02:50:48 GMTThe Royal Tenenbaums2001Wes AndersonDirector <a href="/players/P___263477/default.aspx" style='text-decoration:underline'>Wes Anderson</a> and his longtime friend and writing partner <a href="/players/P___200996/default.aspx" style='text-decoration:underline'>Owen Wilson</a> follow up <a href=/films/93086/default.aspx style='text-decoration:underline'>Bottle Rocket</a> (1996) and <a href=/films/128810/default.aspx style='text-decoration:underline'>Rushmore</a> (1998) with this similarly offbeat comedy about a dysfunctional family reunion. Royal Tenenbaum (<a href="/players/P____29486/default.aspx" style='text-decoration:underline'>Gene Hackman</a>) was a successful attorney who had three children with his wife Etheline (<a href="/players/P____34131/default.aspx" style='text-decoration:underline'>Anjelica Huston</a>), an archaeologist. Each of the Tenenbaum kids was a precocious genius: Chas (<a href="/players/P___112816/default.aspx" style='text-decoration:underline'>Ben Stiller</a>) made a killing as a child investor. Richie (<a href="/players/P___200995/default.aspx" style='text-decoration:underline'>Luke Wilson</a>) was a junior tennis champ and three-time U.S. Nationals winner. The adopted Margot (<a href="/players/P____54871/default.aspx" style='text-decoration:underline'>Gwyneth Paltrow</a>) was a playwright who won a 50,000-dollar Braverman Grant in the ninth grade. When Royal abruptly left his family, however, it was the beginning of two decades of betrayal and failure that would scar the Tenenbaums for life. Their past resentments are bitterly held against Royal when he suddenly reappears, claiming to have six weeks to live and a desire to reconnect with his family. Typically, Royal's story is a sham, but his presence and sincere desire for absolution soon have a profound effect on the Tenenbaums, who are each dealing with thwarted desires and relationships. Among them are Richie's lifelong love for Margot, who's unhappily married to Raleigh St.Clair (<a href="/players/P___103861/default.aspx" style='text-decoration:underline'>Bill Murray</a>) and Etheline's eccentric engagement to Henry Sherman (<a href="/players/P____27278/default.aspx" style='text-decoration:underline'>Danny Glover</a>), who wishes to marry her. The Royal Tenenbaums also co-stars <a href="/players/P___200996/default.aspx" style='text-decoration:underline'>Owen Wilson</a> and features narration provided by <a href="/players/P_____3515/default.aspx" style='text-decoration:underline'>Alec Baldwin</a>. ~ Karl Williams, All Movie Guide220Tag Target (>10)16819174http://www.spout.com/ProductImages/t19470aa9ki.jpghttp://www.spout.com/films/The_Royal_Tenenbaums/201507/default.aspxFilm 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/groups/Weekly_Theme/Re_Weekly_Theme_for_July_6_The_Song/625/42947/1/ShowPost.aspx Post By: mercurial
Post To: Weekly Theme
Post Date: 7/7/2009 9:04:03 PM
Body: The Pink Room - David Lynch Twin Peaks: Fire Walk With Me Probably one of my favorite scenes from a movie, The Pink Room is the name of the song that is playing in the back room of the seedy bar that Laura Palmer goes to to unwind. It just one of those songs that I can listen to on repeat and completely zone out to. Daybreak - Barry ManilowSerial Mom I had never heard any before and haven’t had the desire to listen to any after, but whenever I hear Barry Manilow’s Daybreak I will forever think of Kathleen Turner going psycho in Serial Mom. Hold Tight - Beaky, Dave Dee, Dozy, Mitch & TichGrindhouse A group of gorgeous ladies rocking out to this song before the unthinkably gruesome happens. Has become a staple in my iPod. My Sharona - The KnackReality Bites The gas station food mart with the whole gang dancing crazily to this song. Young Americans - David BowieManderlay Played during the closing credits, the placement of this song in the film was pretty much a big “Fuck You!” from Lars von Trier to America. I still like the guy though. Baby Did A Bad Bad Thing - Chris IsaakEyes Wide Shut The use of the song in the trailer and film was just perfect. Perfect! I’m Shipping Up to Boston - Dropkick Murphys The Departed I’m certain Scorsese won the Oscar purely for putting this song in the film. Where Is My Mind? - The PixiesFight Club Played during the crescendo of the film’s conclusion, I still get goosebumps when I hear this song. My Beloved Monster - EelsShrek Probably one of the only semi-upbeat songs sung by the Eels and it fit perfectly in the film. Needle in the Hay - Elliott SmithThe Royal Tenenbaums Sadly, Luke Wilson’s attempted suicide to this song was mirrored by Smith’s own suicide a few years later. Tiny Dancer - Elton JohnAlmost Famous I always see Kate Hudson twirling in an empty auditorium when I hear this song. To Be Continued . . .
]]>Wed, 08 Jul 2009 01:04:03 GMTmercurialWeekly Theme7/7/2009 9:04:03 PM The Pink Room - David Lynch Twin Peaks: Fire Walk With Me Probably one of my favorite scenes from a movie, The Pink Room is the name of the song that is playing in the back room of the seedy bar that Laura Palmer goes to to unwind. It just one of those songs that I can listen to on repeat and completely zone out to. Daybreak - Barry ManilowSerial Mom I had never heard any before and haven&rsquo;t had the desire to listen to any after, but whenever I hear Barry Manilow&rsquo;s Daybreak I will forever think of Kathleen Turner going psycho in Serial Mom. Hold Tight - Beaky, Dave Dee, Dozy, Mitch &amp; TichGrindhouse A group of gorgeous ladies rocking out to this song before the unthinkably gruesome happens. Has become a staple in my iPod. My Sharona - The KnackReality Bites The gas station food mart with the whole gang dancing crazily to this song. Young Americans - David BowieManderlay Played during the closing credits, the placement of this song in the film was pretty much a big &ldquo;Fuck You!&rdquo; from Lars von Trier to America. I still like the guy though. Baby Did A Bad Bad Thing - Chris IsaakEyes Wide Shut The use of the song in the trailer and film was just perfect. Perfect! I&rsquo;m Shipping Up to Boston - Dropkick Murphys The Departed I&rsquo;m certain Scorsese won the Oscar purely for putting this song in the film. Where Is My Mind? - The PixiesFight Club Played during the crescendo of the film&rsquo;s conclusion, I still get goosebumps when I hear this song. My Beloved Monster - EelsShrek Probably one of the only semi-upbeat songs sung by the Eels and it fit perfectly in the film. Needle in the Hay - Elliott SmithThe Royal Tenenbaums Sadly, Luke Wilson&rsquo;s attempted suicide to this song was mirrored by Smith&rsquo;s own suicide a few years later. Tiny Dancer - Elton JohnAlmost Famous I always see Kate Hudson twirling in an empty auditorium when I hear this song. To Be Continued . . . http://www.spout.com/groups/Weekly_Theme/Re_Weekly_Theme_for_March_23_Hotels_Motels_Inns/625/41245/1/ShowPost.aspx Post By: rjsprague
Post To: Weekly Theme
Post Date: 3/25/2009 3:11:06 PM
Body: I just watched The Darjeeling Limited (finally). Part 1 was great, I just love Wes Anderson's style. The rest of the film was more of a train setting, but I figured part 1 counts for this week's theme. I would also like to mention The Royal Tenenbaums simply because of Royal's involvement with that one hotel in the film. :) Other films that come to mind: Smokin' Aces Holiday Inn The Great Outdoors (I consider the setting to be a lodge. :) There's plenty more, but I don't like to include films I haven't seen, or that were already mentioned.
]]>Wed, 25 Mar 2009 19:11:06 GMTrjspragueWeekly Theme3/25/2009 3:11:06 PMI just watched The Darjeeling Limited (finally). Part 1 was great, I just love Wes Anderson's style. The rest of the film was more of a train setting, but I figured part 1 counts for this week's theme. I would also like to mention The Royal Tenenbaums simply because of Royal's involvement with that one hotel in the film. :) Other films that come to mind: Smokin' Aces Holiday Inn The Great Outdoors (I consider the setting to be a lodge. :) There's plenty more, but I don't like to include films I haven't seen, or that were already mentioned. http://www.spout.com/blogs/karina/archive/2009/1/12/39410.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 1/12/2009 2:01:36 PM
Body: Alexis Dos Santos‘ World Dramatic Competition entry Unmade Beds follows a Spanish guy named Axl and a Belgian girl named Vera who meet in London and, according to the catalogue description, “circle each other’s orbits—their fates almost inevitably intertwined.” In case you were having trouble deconstructing the meaning behind the film’s title, the catalogue is also helpful in that regard: “They may be slightly crumpled works in progress—like the unmade beds where they slumber—but Axl, Vera, and their friends are as vital as a crisp new day.” Also vital and crisp are Dos Santos’ answers to the 4 Questions We Ask Everyone, in which he references Nan Goldin, Monty Python and Wong Kar Wai, and contemplates spending his last hours on Earth watching porn. 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. Unmade Beds is a film that portraits an age, a time and a place: young people in London today. I made this film in London with an international cast: Fernando Tielve, Deborah Francois, Michiel Huisman, Iddo Goldberg and Richard Lintern. It’s a script I’ve been working on for a long time. If this film was an object, it would be two boxes found in an empty warehouse, containing pictures, polaroids, cds, personal diaries, tickets for concerts, comics books, drawings and a bunch of empty bottles. One box would belong to a boy called Axl, the other one to a girl called Vera. Going through their things you can kind of guess what their lives are like, what they think, what they fear and what they long for. You can see their lives and how their stories slowly intertwine. Ok, this isn’t quite the “quick and dirty sell pitch” that i was asked to do, so let’s try again. My influences usually come from music, art literature and photography, more than films. So: “It’s like Nan Goldin photographs put together to a soundtrack of Daniel Johnston’s tapes.” Or… “It’s like In the Mood for Love meets My Own Private Idaho. But in London today, no Chinese dresses, no rent boys, no Shakespeare. With lots of concerts, booze, dance, sex and with a moving but happy ending punctuated with a very eclectic soundtrack.” Sorry, I found this question particularly difficult to answer. 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 never worked a day in my life. OK, I made a few commercials and a couple of music videos, but I didn’t feel like I was working then. I wish I could say that I used to be a male stripper or a porn director whilst I was trying to raise money for this film, but unfortunately that was not the case. I did get paid during the development process, which helped a lot. And I stayed at the Cannes Cinefondation Residence in Paris for a few months, and that also helped. Before that I was very busy making my first film GLUE, but that’s another story. Have you been to Sundance before? If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I look forward to the snow. I started skiing when I was 7 and I even got a couple of medals for some slalom competitions when I was a teenager. That was the only sport I was ever good at. Plus, I look forward to hearing what people think of my film. I like it a lot. I hope people will like it as much as I do. 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? Monty Python’s The Meaning of Life and Wes Anderson’s The Royal Tenenbaums. Or maybe just a couple of porn films and a long playlist with all my favorite music… Originally posted on:SpoutBlog » Karina Longworth
]]>Mon, 12 Jan 2009 19:01:36 GMTKarinaKarina on SpoutBlog1/12/2009 2:01:36 PM Alexis Dos Santos‘ World Dramatic Competition entry Unmade Beds follows a Spanish guy named Axl and a Belgian girl named Vera who meet in London and, according to the catalogue description, “circle each other’s orbits—their fates almost inevitably intertwined.” In case you were having trouble deconstructing the meaning behind the film’s title, the catalogue is also helpful in that regard: “They may be slightly crumpled works in progress—like the unmade beds where they slumber—but Axl, Vera, and their friends are as vital as a crisp new day.” Also vital and crisp are Dos Santos’ answers to the 4 Questions We Ask Everyone, in which he references Nan Goldin, Monty Python and Wong Kar Wai, and contemplates spending his last hours on Earth watching porn. 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. Unmade Beds is a film that portraits an age, a time and a place: young people in London today. I made this film in London with an international cast: Fernando Tielve, Deborah Francois, Michiel Huisman, Iddo Goldberg and Richard Lintern. It’s a script I’ve been working on for a long time. If this film was an object, it would be two boxes found in an empty warehouse, containing pictures, polaroids, cds, personal diaries, tickets for concerts, comics books, drawings and a bunch of empty bottles. One box would belong to a boy called Axl, the other one to a girl called Vera. Going through their things you can kind of guess what their lives are like, what they think, what they fear and what they long for. You can see their lives and how their stories slowly intertwine. Ok, this isn’t quite the “quick and dirty sell pitch” that i was asked to do, so let’s try again. My influences usually come from music, art literature and photography, more than films. So: “It’s like Nan Goldin photographs put together to a soundtrack of Daniel Johnston’s tapes.” Or… “It’s like In the Mood for Love meets My Own Private Idaho. But in London today, no Chinese dresses, no rent boys, no Shakespeare. With lots of concerts, booze, dance, sex and with a moving but happy ending punctuated with a very eclectic soundtrack.” Sorry, I found this question particularly difficult to answer. 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 never worked a day in my life. OK, I made a few commercials and a couple of music videos, but I didn’t feel like I was working then. I wish I could say that I used to be a male stripper or a porn director whilst I was trying to raise money for this film, but unfortunately that was not the case. I did get paid during the development process, which helped a lot. And I stayed at the Cannes Cinefondation Residence in Paris for a few months, and that also helped. Before that I was very busy making my first film GLUE, but that’s another story. Have you been to Sundance before? If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I look forward to the snow. I started skiing when I was 7 and I even got a couple of medals for some slalom competitions when I was a teenager. That was the only sport I was ever good at. Plus, I look forward to hearing what people think of my film. I like it a lot. I hope people will like it as much as I do. 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? Monty Python’s The Meaning of Life and Wes Anderson’s The Royal Tenenbaums. Or maybe just a couple of porn films and a long playlist with all my favorite music… Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2009/1/12/39407.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 1/12/2009 2:01:18 PM
Body: Alexis Dos Santos‘ World Dramatic Competition entry Unmade Beds follows a Spanish guy named Axl and a Belgian girl named Vera who meet in London and, according to the catalogue description, “circle each other’s orbits—their fates almost inevitably intertwined.” In case you were having trouble deconstructing the meaning behind the film’s title, the catalogue is also helpful in that regard: “They may be slightly crumpled works in progress—like the unmade beds where they slumber—but Axl, Vera, and their friends are as vital as a crisp new day.” Also vital and crisp are Dos Santos’ answers to the 4 Questions We Ask Everyone, in which he references Nan Goldin, Monty Python and Wong Kar Wai, and contemplates spending his last hours on Earth watching porn. 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. Unmade Beds is a film that portraits an age, a time and a place: young people in London today. I made this film in London with an international cast: Fernando Tielve, Deborah Francois, Michiel Huisman, Iddo Goldberg and Richard Lintern. It’s a script I’ve been working on for a long time. If this film was an object, it would be two boxes found in an empty warehouse, containing pictures, polaroids, cds, personal diaries, tickets for concerts, comics books, drawings and a bunch of empty bottles. One box would belong to a boy called Axl, the other one to a girl called Vera. Going through their things you can kind of guess what their lives are like, what they think, what they fear and what they long for. You can see their lives and how their stories slowly intertwine. Ok, this isn’t quite the “quick and dirty sell pitch” that i was asked to do, so let’s try again. My influences usually come from music, art literature and photography, more than films. So: “It’s like Nan Goldin photographs put together to a soundtrack of Daniel Johnston’s tapes.” Or… “It’s like In the Mood for Love meets My Own Private Idaho. But in London today, no Chinese dresses, no rent boys, no Shakespeare. With lots of concerts, booze, dance, sex and with a moving but happy ending punctuated with a very eclectic soundtrack.” Sorry, I found this question particularly difficult to answer. 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 never worked a day in my life. OK, I made a few commercials and a couple of music videos, but I didn’t feel like I was working then. I wish I could say that I used to be a male stripper or a porn director whilst I was trying to raise money for this film, but unfortunately that was not the case. I did get paid during the development process, which helped a lot. And I stayed at the Cannes Cinefondation Residence in Paris for a few months, and that also helped. Before that I was very busy making my first film GLUE, but that’s another story. Have you been to Sundance before? If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I look forward to the snow. I started skiing when I was 7 and I even got a couple of medals for some slalom competitions when I was a teenager. That was the only sport I was ever good at. Plus, I look forward to hearing what people think of my film. I like it a lot. I hope people will like it as much as I do. 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? Monty Python’s The Meaning of Life and Wes Anderson’s The Royal Tenenbaums. Or maybe just a couple of porn films and a long playlist with all my favorite music… Originally posted on:SpoutBlog
]]>Mon, 12 Jan 2009 19:01:18 GMTSpoutBlogSpoutBlog on spout.com1/12/2009 2:01:18 PM Alexis Dos Santos‘ World Dramatic Competition entry Unmade Beds follows a Spanish guy named Axl and a Belgian girl named Vera who meet in London and, according to the catalogue description, “circle each other’s orbits—their fates almost inevitably intertwined.” In case you were having trouble deconstructing the meaning behind the film’s title, the catalogue is also helpful in that regard: “They may be slightly crumpled works in progress—like the unmade beds where they slumber—but Axl, Vera, and their friends are as vital as a crisp new day.” Also vital and crisp are Dos Santos’ answers to the 4 Questions We Ask Everyone, in which he references Nan Goldin, Monty Python and Wong Kar Wai, and contemplates spending his last hours on Earth watching porn. 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. Unmade Beds is a film that portraits an age, a time and a place: young people in London today. I made this film in London with an international cast: Fernando Tielve, Deborah Francois, Michiel Huisman, Iddo Goldberg and Richard Lintern. It’s a script I’ve been working on for a long time. If this film was an object, it would be two boxes found in an empty warehouse, containing pictures, polaroids, cds, personal diaries, tickets for concerts, comics books, drawings and a bunch of empty bottles. One box would belong to a boy called Axl, the other one to a girl called Vera. Going through their things you can kind of guess what their lives are like, what they think, what they fear and what they long for. You can see their lives and how their stories slowly intertwine. Ok, this isn’t quite the “quick and dirty sell pitch” that i was asked to do, so let’s try again. My influences usually come from music, art literature and photography, more than films. So: “It’s like Nan Goldin photographs put together to a soundtrack of Daniel Johnston’s tapes.” Or… “It’s like In the Mood for Love meets My Own Private Idaho. But in London today, no Chinese dresses, no rent boys, no Shakespeare. With lots of concerts, booze, dance, sex and with a moving but happy ending punctuated with a very eclectic soundtrack.” Sorry, I found this question particularly difficult to answer. 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 never worked a day in my life. OK, I made a few commercials and a couple of music videos, but I didn’t feel like I was working then. I wish I could say that I used to be a male stripper or a porn director whilst I was trying to raise money for this film, but unfortunately that was not the case. I did get paid during the development process, which helped a lot. And I stayed at the Cannes Cinefondation Residence in Paris for a few months, and that also helped. Before that I was very busy making my first film GLUE, but that’s another story. Have you been to Sundance before? If you haven’t, what are you most (or least) looking forward to based on your impressions of the festival? I look forward to the snow. I started skiing when I was 7 and I even got a couple of medals for some slalom competitions when I was a teenager. That was the only sport I was ever good at. Plus, I look forward to hearing what people think of my film. I like it a lot. I hope people will like it as much as I do. 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? Monty Python’s The Meaning of Life and Wes Anderson’s The Royal Tenenbaums. Or maybe just a couple of porn films and a long playlist with all my favorite music… 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/Best_movie_quotes/Re_Favorite_Quotes_from_Wes_Anderson_Films/17/37487/1/ShowPost.aspx Post By: seely
Post To: Best movie quotes
Post Date: 11/20/2008 12:21:35 PM
Body: I'm pulling a few from Rushmore, as its potentially my favorite Wes film. My top schools where I want to apply to are Oxford and the Sorbonne. Harvard is my safety. You think I got kicked out for just the aquarium? Nah, it was the handjob. And you wanna know something else? It was worth it. I saved Latin. What did you ever do? Rosemary: Has it ever crossed your mind that you're far too young for me? Max: It crossed my mind that you might consider that a possibility, yeah. [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]
]]>Thu, 20 Nov 2008 17:21:35 GMTseelyBest movie quotes11/20/2008 12:21:35 PMI'm pulling a few from Rushmore, as its potentially my favorite Wes film. My top schools where I want to apply to are Oxford and the Sorbonne. Harvard is my safety. You think I got kicked out for just the aquarium? Nah, it was the handjob. And you wanna know something else? It was worth it. I saved Latin. What did you ever do? Rosemary: Has it ever crossed your mind that you're far too young for me? Max: It crossed my mind that you might consider that a possibility, yeah. [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/members/0/tags/love/MemberTagFilms.aspxlove
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