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Post by SugarMagnolia on Oct 28, 2007 21:04:01 GMT -5
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caraboo
Hutch's Tiny Dancer
Posts: 75
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Post by caraboo on Oct 29, 2007 6:10:18 GMT -5
I am so in love with this movie. It really resonated with me in terms of rediscovery of relationships. Owen's performance was very different to anything that he has done previously. Especially the flash back scene, he was so "hard-faced". Adrian Brody stole a lot of scenes too.
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Jenna
Team Zissou Intern
Posts: 118
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Post by Jenna on Nov 6, 2007 18:25:25 GMT -5
I have to say that this movie is definitely in my top 5 favorite movies ever! I've seen it three times already. I think I have it memorized. It was funny, sad, heartwarming, wistful. It really made me reflect on my own relationships with my siblings/parents. The good and the bad. I think Wes did a beautiful job with this film, as did all the actors, especially Owen, Adrien and Jason. They were all so good at expressing emotion through their faces, without words. Oh, and I LOVED the music. I had to have the soundtrack of course. ;D
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Post by Mrs.Sylfian on Nov 7, 2007 6:02:07 GMT -5
i cannot wait for that movie! it sucks that i have to wait for it untill februari
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Post by Lom83 on Nov 7, 2007 6:36:38 GMT -5
I just checked, the local cinema chain says it'll be showing Darjeeling from November 23rd, though it won't let me check exactly which branches will be showing it... I just checked, 'Into The Wild' one of their current recommended movies, doesn't appear to be offered at the local branch I only really feel confident driving to the local brach, its a long way to other ones and im not sure where they are. Its a shame, it sounded like a good movie, guess ill wait for the DVD. Guess ill just have to wait and see if Darjeeling is offered at the local cinema...
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Post by OwenFan96 on Nov 7, 2007 10:29:25 GMT -5
some friends and i drove 4 hours to see this movie and i must say i enjoyed it so much, it was everything i expected and i so loved owen, adrien and jason as brothers, they were very convincing. out of all the brothers though i think i more identified with peter. wes is an amazing director. the scene where the brothers are fighting when peter throws the belt at francis reminded me of the clean pants story and i remember luke on letterman telling a story about mace, when the brothers first moved to LA owen bought mace for some reason and whenever he and luke would get into a fight owen would get out his can of mace. i remember luke saying the only time he felt safe enough to talk to owen was when owen was in the shower and he knew he didnt have the mace in the shower with him lol.. i see parallels.. great movie and we had a great time on our trip/pre-birthday party for me. it was bittersweet, the theatre where i first saw bottle rocket had been torn down and now theres just an empty lot.. oh well
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Post by leslee on Nov 7, 2007 13:10:22 GMT -5
What a nice way to start a birthday-party! Oh,reading all this I cant wait to see it...!! I hope Januray 3 will come soon.....!
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Post by Lom83 on Nov 7, 2007 14:35:57 GMT -5
some friends and i drove 4 hours to see this movie and i must say i enjoyed it so much, it was everything i expected and i so loved owen, adrien and jason as brothers, they were very convincing. out of all the brothers though i think i more identified with peter. wes is an amazing director. the scene where the brothers are fighting when peter throws the belt at francis reminded me of the clean pants story and i remember luke on letterman telling a story about mace, when the brothers first moved to LA owen bought mace for some reason and whenever he and luke would get into a fight owen would get out his can of mace. i remember luke saying the only time he felt safe enough to talk to owen was when owen was in the shower and he knew he didnt have the mace in the shower with him lol.. i see parallels.. great movie and we had a great time on our trip/pre-birthday party for me. it was bittersweet, the theatre where i first saw bottle rocket had been torn down and now theres just an empty lot.. oh well Aw thats cool, im glad you enjoyed the movie. Thanks for the trivia, I didn't know that, I guess he was scared at what the people in LA might be like lol im lucky I don't have to carry Mase with me here... thats some sore stuff! maybe thats how he stops fans from crowding him, threaten to bring out the mase I wouldn't mind driving a bit to see the movie, its just that im still fairly 'new' at driving alone and the closest other branches are in the countries capital city, where it can be eh difficult at best to park and I wouldn't be familiar with the route, when I'd only just manage to get to the local branch back in August and was happy knowing I can drive there, I just got the confidence to do it so ill be pretty disappointed if its not shown there, which im guessing it probably won't be, if Into The Wild isn't *tch* its not that small a cinema either! oh well imma stop grumbling... I'm glad you enjoy the movie! thanks for sharing the info. with us all!
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Jenna
Team Zissou Intern
Posts: 118
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Post by Jenna on Nov 8, 2007 23:05:06 GMT -5
That's too bad that so many of you have to wait so long to see it. But it's worth the wait!
Didn't mean to rub it in....hahaha.... ;D
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Post by scarletshoes2000 on Nov 9, 2007 4:29:36 GMT -5
Nice interview with Wes in UK Newspaper today.... film.guardian.co.uk/interview/interviewpages/0,,2207597,00.html?gusrc=rss&feed=networkfront Wes Anderson likes to live his movies before he shoots them. It is a neat way of working, he says; it helps the creative process. So if, for instance, he is making a film about life at a private school, it is only natural to cast his alma mater in the title role. Or if he makes a film about a dysfunctional New York family he'll have Anjelica Huston wear his mother's glasses to play the matriarch. His most recent work, The Darjeeling Limited, features a trio of squabbling American brothers on a train ride across India. In preparation, Anderson embarked on the exact same trip alongside his writing partners Roman Coppola and Jason Schwartzman. The three of them, he explains, were acting out the plot as they went along. They were, in effect, being the movie before the movie existed. When it comes to Wes Anderson, it is sometimes hard to tell where the facts end and the fictions begin. Here he is, a slender white prince in his London hotel suite, with his feet on the table and his nose in the air. At the age of 38, he has conjured up a bunch of wry, literate tragicomedies (Rushmore, The Royal Tenenbaums) that mark him as one of the brightest film-makers of his generation. And yet one can't shake the sense that in some respects Wes Anderson's greatest production is Wes Anderson himself, and that his grand body of work might best be read as a kind of romantic reconfiguration of his own life and the people in it. In the case of The Darjeeling Limited, this has rebounded on him in ways he could never have foreseen. Anderson was born and raised in Houston, though he remains the most unlikely-looking Texan I've ever met. "Yeah, I've never really seen myself as a Texan," he says. "I mean, I lived there for the first 20 years of my life and all. But even then I always wanted to live in New York, and probably secretly identified myself as a New Yorker." As a child he would pretend he was rich, sketching Hampton mansions and European chateaus and then pretending that he lived in them. He is a very Gatsby-esque creature; a callow westerner remade as the classic east-coast sophisticate. We talk about The Darjeeling Limited, which stars his long-time accomplice Owen Wilson as the older brother who masterminds a "spiritual journey" through the subcontinent. It's a lush and lovely affair, an oddball picaresque that manages to be at once determinedly inconsequential and weirdly profound. Darjeeling was shot on location, and features a poisonous snake and a man-eating tiger. But the terrain it travels is very much an India of the imagination, and an extension of the man who imagined it. Sometimes that's part of the problem. "It's difficult," he acknowledges. "I don't want to repeat myself, but of course I do repeat myself. I have my own personality and some people are going to like that and others are not. I think some people find it very annoying when they feel that a film-maker's signature is too visible. But without ever quite making that choice, that tends to be the way I make 'em. You can spot 'em a mile off." Early word on The Darjeeling Limited has been a lot kinder than it was for his previous effort, 2004's arch, unsatisfying The Life Aquatic With Steve Zissou. And yet Anderson remains such an acquired taste that the dissenting voices will always have their say. Reviewing the film in the New York Times, AO Scott described it as "precious in both senses of the word", which sounds about right. Slate critic Jonah Weiner was altogether less impressed. In Weiner's opinion, "there has always been something obnoxious about Wes Anderson". For good measure he suggested that the director's treatment of the peripheral Indian characters in Darjeeling borders on the racist. "It's a harsh thing to be accused of, racism," Anderson says. "It's hard not to be offended by that. I mean, this is a movie from the point of view of three American tourists, so their window is always going to be pretty narrow. But this notion that we are somehow using India as fodder, that's just so wrong." He sighs like an old tragedian. "One does feel misunderstood." This leads us, inevitably, to the other area of misunderstanding, the proverbial elephant in the living room. The Darjeeling Limited marks Anderson's fifth collaboration with Owen Wilson, a man he describes as his best friend. Here Wilson plays a character recovering from a failed suicide attempt. At the end of August, just as the film was about to be unveiled at the Venice film festival, Wilson was admitted to hospital following an apparent attempt to take his own life. Touring the film on the festival circuit, Anderson has grown used to fending off this subject. Some people, he says, can't resist the temptation to sift the film for clues to the actor's mental state, equating the fictional Wilson with the factual one. "You know, I generally just don't engage in it. The fact is that Owen's - what do we call it? - experience over the past few months cannot be connected to this film in any way. It's just bad timing. I mean the whole thing is beyond bad timing. But that character is not based on Owen. Sure, I based him on real-life people, but Owen was never one of them." But he is doomed to tackle these questions. It all comes back to that crucial sense of slippage between Anderson's personality and the personality of his films; the impression that the dramas in one world have echoes in the other. First off, Anderson and Wilson have known each other since they were students. Second, their films invariably feature characters that are much cursed as they are blessed; bright young stars who crash and burn. Small wonder people will add two and two together and come away with five. Anderson nods. "What you are saying is quite true. And yet no one puts it with that degree of clarity. They just say, 'Oh, this character tried to kill himself and look, there's Owen Wilson in real life.'" He shrugs. "Certainly my movies are connected to my real life and the people around me. That's what confuses people." Out of the blue he tells me about his first experience of working with Wilson. This was on Bottle Rocket, a jaunty, freewheeling feature that the pair expanded from a 14-minute short. Bottle Rocket won a powerful champion in Martin Scorsese, established Anderson as an art-house darling and paved Wilson's ascent to the Hollywood summit. Except it almost didn't turn out that way. On completion, the film garnered the worst results of any Columbia Pictures test preview, ever, and was widely judged to be a disaster. "Owen thought we were all washed up," Anderson recalls. "He thought it was over. I remember him saying that we had to quickly look for work in advertising, which I really did not want to do. He also kept saying that we needed to distance ourselves from the movie." He chuckles at the memory. "And I'm like, 'How are we going to do that? We've both written it, I've directed it and you're in pretty much every scene. That seems a pretty tall order.' But no, he was insistent. We had to distance ourselves." This question of distance is central to Anderson's work. Any director worth their salt will inevitably filter their films through their own consciousness, and make the audience see the world as they see it. In the case of Wes Anderson, the fit is snugger than is strictly comfortable. This is what makes the notion that he can somehow disown his own projects so ludicrous (so comical on one occasion; so entangling in another). But it is also what makes him so interesting. Anderson produces movies that are clever and cocksure, fragile and flawed, ephemeral and intense. In person he's a bit like that himself: a series of successful gestures, at once a self-regarding aesthete and an artist to be cherished. Precious in both senses of the word.
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Post by Lom83 on Nov 9, 2007 6:00:31 GMT -5
Nice interview with Wes in UK Newspaper today.... film.guardian.co.uk/interview/interviewpages/0,,2207597,00.html?gusrc=rss&feed=networkfront Wes Anderson likes to live his movies before he shoots them. It is a neat way of working, he says; it helps the creative process. So if, for instance, he is making a film about life at a private school, it is only natural to cast his alma mater in the title role. Or if he makes a film about a dysfunctional New York family he'll have Anjelica Huston wear his mother's glasses to play the matriarch. His most recent work, The Darjeeling Limited, features a trio of squabbling American brothers on a train ride across India. In preparation, Anderson embarked on the exact same trip alongside his writing partners Roman Coppola and Jason Schwartzman. The three of them, he explains, were acting out the plot as they went along. They were, in effect, being the movie before the movie existed. When it comes to Wes Anderson, it is sometimes hard to tell where the facts end and the fictions begin. Here he is, a slender white prince in his London hotel suite, with his feet on the table and his nose in the air. At the age of 38, he has conjured up a bunch of wry, literate tragicomedies (Rushmore, The Royal Tenenbaums) that mark him as one of the brightest film-makers of his generation. And yet one can't shake the sense that in some respects Wes Anderson's greatest production is Wes Anderson himself, and that his grand body of work might best be read as a kind of romantic reconfiguration of his own life and the people in it. In the case of The Darjeeling Limited, this has rebounded on him in ways he could never have foreseen. Anderson was born and raised in Houston, though he remains the most unlikely-looking Texan I've ever met. "Yeah, I've never really seen myself as a Texan," he says. "I mean, I lived there for the first 20 years of my life and all. But even then I always wanted to live in New York, and probably secretly identified myself as a New Yorker." As a child he would pretend he was rich, sketching Hampton mansions and European chateaus and then pretending that he lived in them. He is a very Gatsby-esque creature; a callow westerner remade as the classic east-coast sophisticate. We talk about The Darjeeling Limited, which stars his long-time accomplice Owen Wilson as the older brother who masterminds a "spiritual journey" through the subcontinent. It's a lush and lovely affair, an oddball picaresque that manages to be at once determinedly inconsequential and weirdly profound. Darjeeling was shot on location, and features a poisonous snake and a man-eating tiger. But the terrain it travels is very much an India of the imagination, and an extension of the man who imagined it. Sometimes that's part of the problem. "It's difficult," he acknowledges. "I don't want to repeat myself, but of course I do repeat myself. I have my own personality and some people are going to like that and others are not. I think some people find it very annoying when they feel that a film-maker's signature is too visible. But without ever quite making that choice, that tends to be the way I make 'em. You can spot 'em a mile off." Early word on The Darjeeling Limited has been a lot kinder than it was for his previous effort, 2004's arch, unsatisfying The Life Aquatic With Steve Zissou. And yet Anderson remains such an acquired taste that the dissenting voices will always have their say. Reviewing the film in the New York Times, AO Scott described it as "precious in both senses of the word", which sounds about right. Slate critic Jonah Weiner was altogether less impressed. In Weiner's opinion, "there has always been something obnoxious about Wes Anderson". For good measure he suggested that the director's treatment of the peripheral Indian characters in Darjeeling borders on the racist. "It's a harsh thing to be accused of, racism," Anderson says. "It's hard not to be offended by that. I mean, this is a movie from the point of view of three American tourists, so their window is always going to be pretty narrow. But this notion that we are somehow using India as fodder, that's just so wrong." He sighs like an old tragedian. "One does feel misunderstood." This leads us, inevitably, to the other area of misunderstanding, the proverbial elephant in the living room. The Darjeeling Limited marks Anderson's fifth collaboration with Owen Wilson, a man he describes as his best friend. Here Wilson plays a character recovering from a failed suicide attempt. At the end of August, just as the film was about to be unveiled at the Venice film festival, Wilson was admitted to hospital following an apparent attempt to take his own life. Touring the film on the festival circuit, Anderson has grown used to fending off this subject. Some people, he says, can't resist the temptation to sift the film for clues to the actor's mental state, equating the fictional Wilson with the factual one. "You know, I generally just don't engage in it. The fact is that Owen's - what do we call it? - experience over the past few months cannot be connected to this film in any way. It's just bad timing. I mean the whole thing is beyond bad timing. But that character is not based on Owen. Sure, I based him on real-life people, but Owen was never one of them." But he is doomed to tackle these questions. It all comes back to that crucial sense of slippage between Anderson's personality and the personality of his films; the impression that the dramas in one world have echoes in the other. First off, Anderson and Wilson have known each other since they were students. Second, their films invariably feature characters that are much cursed as they are blessed; bright young stars who crash and burn. Small wonder people will add two and two together and come away with five. Anderson nods. "What you are saying is quite true. And yet no one puts it with that degree of clarity. They just say, 'Oh, this character tried to kill himself and look, there's Owen Wilson in real life.'" He shrugs. "Certainly my movies are connected to my real life and the people around me. That's what confuses people." Out of the blue he tells me about his first experience of working with Wilson. This was on Bottle Rocket, a jaunty, freewheeling feature that the pair expanded from a 14-minute short. Bottle Rocket won a powerful champion in Martin Scorsese, established Anderson as an art-house darling and paved Wilson's ascent to the Hollywood summit. Except it almost didn't turn out that way. On completion, the film garnered the worst results of any Columbia Pictures test preview, ever, and was widely judged to be a disaster. "Owen thought we were all washed up," Anderson recalls. "He thought it was over. I remember him saying that we had to quickly look for work in advertising, which I really did not want to do. He also kept saying that we needed to distance ourselves from the movie." He chuckles at the memory. "And I'm like, 'How are we going to do that? We've both written it, I've directed it and you're in pretty much every scene. That seems a pretty tall order.' But no, he was insistent. We had to distance ourselves." This question of distance is central to Anderson's work. Any director worth their salt will inevitably filter their films through their own consciousness, and make the audience see the world as they see it. In the case of Wes Anderson, the fit is snugger than is strictly comfortable. This is what makes the notion that he can somehow disown his own projects so ludicrous (so comical on one occasion; so entangling in another). But it is also what makes him so interesting. Anderson produces movies that are clever and cocksure, fragile and flawed, ephemeral and intense. In person he's a bit like that himself: a series of successful gestures, at once a self-regarding aesthete and an artist to be cherished. Precious in both senses of the word. Interesting; thanks for posting!
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Post by OwenFan96 on Nov 9, 2007 10:52:45 GMT -5
i read that interview last night and its pretty good, but anything with wes is great
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Post by SugarMagnolia on Nov 10, 2007 1:12:30 GMT -5
Thank you so much for posting that interview from the Guardian, that was wonderful - really insightful and substantive. I love The Great Gatsby references especially!
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Post by Lom83 on Nov 10, 2007 6:44:28 GMT -5
Thank you so much for posting that interview from the Guardian, that was wonderful - really insightful and substantive. I love The Great Gatsby references especially! Yes I'd meant to say that I particularly agree with what was said in terms of how Wes seems to me, like his image I suppose(?) so I take it he didn't grow up in a particularly upper class situation then? its funny where it mentions that he used to draw pictures of big mansions and claim that he lived in them... very imaginative; thats the sort of thing I'd do when I was younger, well I certainly have/had a big imagination and would like to draw things and imagine them as being real! very creative lol
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Post by Lom83 on Nov 24, 2007 11:38:16 GMT -5
Okay ive seen the movie and I have to say I thought it was done really well. Having seen Wes' other movies, it was what I expected and in a good way I thought the 3 brothers all gave good, solid performances and it was intriguing trying to figure out the brothers past during the movie. There were some pretty cool shots of the country/towns and everything... I'm still curious to know whether or not there actually is a train with the name of the movie? sorry if this has been covered before, I don't remember hearing about that... im just curious. *slight, minor spoiler below, dont scroll down if you dont wanna know* . . . . . . . . . . . . . . . . \/ I also got kind of confused at the start with Bull Murrays character going for and missing the train and Peter watching him giving up on the platform, it seemed to me at least, as if he knew him... when its mentioned that Peter is wearing his fathers glasses, I thought that Murrays character was their father until its clear that, that can't be the case... so he's just some random businessman then? hmmm, I guess thats up to us to decide(?) I dunno... I noticed there were only about 10 people at the screening I went to, which makes me that I thought all the screenings were sold out to start with #rolleyes#, the other people there seemed to enjoy it alot too, you could hear quite a few laughs, which is good its just a bit of a shame it was as quiet as it was... though I got a good seat which was nice for me lol
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