Latest / NO FILTER / Oscar-winner Wes Anderson and Ari on filmmaking_ writing_ editing_ new film _ star-studded casts(MP3_160K)

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Oscar-winner Wes Anderson and Ari on filmmaking_ writing_ editing_ new film _ star-studded casts(MP3_160K) · NO FILTER

• 0:00
  Speaker 1: Tonight, we are joined by a very special Maverick. Academy
• 0:04
  Speaker 1: Award winning director Wes Anderson makes his debut, fresh off
• 0:08
  Speaker 1: the new film The Phoenicians Scheme starring Benicio del Toro,
• 0:12
  Speaker 1: Mia Reppleton, Michael Sarah, Tom Hanks, Scarlett Johansson, Benedict Cumberbatch.
• 0:18
  Speaker 2: The list goes on. Here's how it looks.
• 0:22
  Speaker 3: Rescue workers are laboring to recover and identify the remains
• 0:26
  Speaker 3: of Jaja Korda, international businessman Maverick in the fields of
• 0:31
  Speaker 3: armaments and aviation, among the richest men in Europe. This
• 0:37
  Speaker 3: was Korda's sixth recorded airplane crash. He is survived by
• 0:41
  Speaker 3: ten children, nine boys, one nun, his daughter Liso.
• 0:46
  Speaker 1: Academy Award winning director Wes Anderson joins us. Now, welcome,
• 0:51
  Speaker 1: Thank you, Ari, thank you. Great to be here, really
• 0:54
  Speaker 1: great to have you. This film feels classic. Some might
• 0:58
  Speaker 1: call it timeless. It's a throwback, and yet many of
• 1:02
  Speaker 1: the themes, including how people with money or privilege operate
• 1:07
  Speaker 1: in the world, feel very current. Could you tell us
• 1:09
  Speaker 1: a little bit about what drew you to this story.
• 1:15
  Speaker 4: Well, it began really that with the idea to write
• 1:19
  Speaker 4: something for Benicio del Toro to play.
• 1:22
  Speaker 5: I mean it's Benethio.
• 1:24
  Speaker 4: I had this idea of a kind of euro tycoon.
• 1:30
  Speaker 5: Of Aristotle on.
• 1:32
  Speaker 4: Nassas kind of type something like that, and in the
• 1:37
  Speaker 4: course of time we did quite a bit of research
• 1:41
  Speaker 4: about different men.
• 1:42
  Speaker 5: Of that kind and the characters.
• 1:46
  Speaker 4: It's a mixture of many historical figures, historical capitalists, especially
• 1:53
  Speaker 4: of the fifties, of that part of the twentieth century.
• 1:56
  Speaker 1: Are you drawn to that clash what it means to
• 1:59
  Speaker 1: have that money spend it?
• 2:00
  Speaker 2: Or at a more perhaps simple level, does it.
• 2:03
  Speaker 1: Just make for more adventure when somebody has the money
• 2:07
  Speaker 1: to spend well?
• 2:09
  Speaker 4: I think that, you know, when somebody has the means
• 2:15
  Speaker 4: to empower himself to and it's usually a hymn to
• 2:19
  Speaker 4: make to make decisions for large groups of people, to
• 2:25
  Speaker 4: control resources and workforces. And you know, someone who's not
• 2:31
  Speaker 4: elected but it is, has made it possible for himself
• 2:37
  Speaker 4: to kind of run a population. It makes for an
• 2:41
  Speaker 4: interesting character.
• 2:42
  Speaker 5: People people like that.
• 2:43
  Speaker 4: People I've seen like that been around like that. They're
• 2:46
  Speaker 4: they're fascinating because you know, they're each one is totally
• 2:50
  Speaker 4: unique because they have the power to do what they want.
• 2:54
  Speaker 4: They go their own ways and at the same time
• 2:58
  Speaker 4: that there is, there's and things that are more like
• 3:01
  Speaker 4: a type I think about with people like that. So
• 3:05
  Speaker 4: that was the kind of character we wanted to explore.
• 3:07
  Speaker 1: Watching this film, one is transported, but there's also echoes
• 3:13
  Speaker 1: of the world we live in today. What you just mentioned,
• 3:16
  Speaker 1: what money does and like it or not, the role
• 3:20
  Speaker 1: of violence and the threat of violence, which you explore
• 3:23
  Speaker 1: at times with whimsy but then with gravity, and then
• 3:26
  Speaker 1: you have a moment I want to show where we
• 3:28
  Speaker 1: have folks who you'll tell us they seem to be
• 3:30
  Speaker 1: perhaps invoking the threat of violence for both financial and
• 3:35
  Speaker 1: political terms. Take a look, why are.
• 3:39
  Speaker 2: You shooting Mysili?
• 3:40
  Speaker 5: This is a robbery on behalfit. I understand that I'm
• 3:43
  Speaker 5: asking about my Sili. You idiots are destroying.
• 3:45
  Speaker 2: A magnificent lightlob. What's going on there?
• 3:49
  Speaker 1: And were you exploring the idea that sometimes there's resistance
• 3:52
  Speaker 1: that takes matters into its own hands.
• 3:56
  Speaker 5: Yes, yes, I think you know.
• 3:58
  Speaker 4: Those characters are called if I if I can remember
• 4:02
  Speaker 4: it right, what's in our movie the Radical Freedom Militia
• 4:07
  Speaker 4: coor the Radical Freedom Militia. I believe that's right, Richard
• 4:10
  Speaker 4: Richard Iowade is the leader of a group of gorilla
• 4:14
  Speaker 4: rebels who who who? You know they're there. They're terrorists,
• 4:21
  Speaker 4: but they have a code. Uh, these guys, and they
• 4:26
  Speaker 4: play a pretty crucial role in the journey our character
• 4:30
  Speaker 4: takes in this story. And we have but also we
• 4:33
  Speaker 4: have a wonderful actor who plays that part.
• 4:36
  Speaker 2: Yeah, he's also I think of the voice in Crepopolis.
• 4:38
  Speaker 5: Right, is that right?
• 4:41
  Speaker 1: I think yeah, Richard, Yeah, incredible presence, incredible voice, which
• 4:46
  Speaker 1: brings us to your casting, your legendary for this.
• 4:50
  Speaker 2: I don't think that's an overstatement. In today's film world.
• 4:54
  Speaker 1: Here you have Tom Hanks, Scarlet, Johansson, Brian Cranston, Bennett
• 4:57
  Speaker 1: Cumber Badge often and I know there's no small parts,
• 5:00
  Speaker 1: but they have less screen time than they usually do.
• 5:04
  Speaker 1: And we checked Wes, so this isn't us. These are
• 5:07
  Speaker 1: celebrated actors who've said over the years they do choose
• 5:11
  Speaker 1: to work with you, sometimes under different conditions because of
• 5:14
  Speaker 1: your approach as a director.
• 5:16
  Speaker 2: Take a look.
• 5:19
  Speaker 6: Like watching him discover and use Micah as like God
• 5:22
  Speaker 6: discovering water. It seems like a pretty obvious natural element
• 5:26
  Speaker 6: to have in his arsenal as a filmmaker. It was
• 5:29
  Speaker 6: the perfect, perfect partnership.
• 5:31
  Speaker 7: So I've read the script. But the script was so
• 5:32
  Speaker 7: precisely written. I mean you could tell that this guy
• 5:35
  Speaker 7: knew exactly what he was doing.
• 5:37
  Speaker 5: You knew exactly what he wanted to make.
• 5:39
  Speaker 8: We have dinner at one table every single night with
• 5:43
  Speaker 8: Wes and all guests, and it's like actor camp. We
• 5:48
  Speaker 8: just we get to experience this on a Wes Anderson film.
• 5:51
  Speaker 8: There are no trailers, dressing rooms. You all just there's
• 5:57
  Speaker 8: no hierarchy, there's no call sheet. You just are ready
• 6:00
  Speaker 8: to go about nine thirty, ten o'clock in the morning
• 6:02
  Speaker 8: in your in your wardrobe.
• 6:05
  Speaker 7: That's good manners.
• 6:06
  Speaker 2: You know, that's tact.
• 6:07
  Speaker 7: And you know he's learned that from the really great
• 6:10
  Speaker 7: directors operate that way. The soft guys and the smart
• 6:13
  Speaker 7: ones and the great ones come up and they go okay,
• 6:15
  Speaker 7: and they it's just very private things.
• 6:19
  Speaker 2: That's your natural style. Are you set out to do that?
• 6:23
  Speaker 4: That's well, it's funny seeing those that's a that's a
• 6:26
  Speaker 4: walk down memory lane seeing these guys the yes, you know,
• 6:31
  Speaker 4: I mean, Brian's talking about no trailers and so on.
• 6:33
  Speaker 4: I think for me, what I've been making movies a
• 6:38
  Speaker 4: long time now, I'm old now, and I must have
• 6:41
  Speaker 4: made a twelve movies, and I saw over the course
• 6:46
  Speaker 4: of the movies and the things the ways I didn't
• 6:48
  Speaker 4: want to work, and I figured out the ways I do.
• 6:52
  Speaker 4: And I what I like is to have the cast
• 6:56
  Speaker 4: feel like a real company, to all be together, to
• 7:00
  Speaker 4: not have so much of a hierarchy, to in fact,
• 7:03
  Speaker 4: for everybody to sort of be at the top of
• 7:05
  Speaker 4: the hierarchy together. And and I think a lot of
• 7:09
  Speaker 4: decisions I make, you know, making a movie, it's a
• 7:12
  Speaker 4: lot of work, and these actors work very hard, and
• 7:16
  Speaker 4: we often were doing something kind of challenging in terms
• 7:18
  Speaker 4: of what is involved in bringing the scene to life.
• 7:22
  Speaker 4: But but you know, to me, at the same time,
• 7:27
  Speaker 4: I want to make it fun because I feel like
• 7:29
  Speaker 4: we're we're going to do better work if we're having fun,
• 7:32
  Speaker 4: and we've got.
• 7:32
  Speaker 5: To sustain it over the length of a shoot.
• 7:35
  Speaker 4: So some of them I make choices because I think
• 7:38
  Speaker 4: it will be more fun to work this way, and
• 7:41
  Speaker 4: I think that I think that helps us when it
• 7:43
  Speaker 4: comes when it when it when we get finally get
• 7:45
  Speaker 4: back in the editing room, we're glad that we had
• 7:48
  Speaker 4: that approach, because you know what we get it's you know,
• 7:50
  Speaker 4: you're trying to bring something to life.
• 7:53
  Speaker 1: It's so interesting hearing you say that, because the art
• 7:55
  Speaker 1: is meticulous, viewers know how the films look and feel,
• 8:00
  Speaker 1: and yet against that you're talking about what to use
• 8:02
  Speaker 1: a term that Wes Anderson might not use, what young
• 8:06
  Speaker 1: people call the vibes. Right, it sounds like you're setting
• 8:10
  Speaker 1: a vibe long before you start action.
• 8:15
  Speaker 5: You gotta nail the vibe.
• 8:17
  Speaker 4: I mean, I think I think when the actors arrive
• 8:20
  Speaker 4: on the set, that's what that's the director's main job
• 8:26
  Speaker 4: is to give them a mood and a sort of
• 8:28
  Speaker 4: put them, put them in a place where they can
• 8:31
  Speaker 4: do their best work, where they feel, where they're in
• 8:34
  Speaker 4: the right state of mind to be character to make
• 8:38
  Speaker 4: this pretend thing really happen.
• 8:41
  Speaker 5: That's I mean, I think that's that's the job. Really
• 8:44
  Speaker 5: blocking though big thing too.
• 8:46
  Speaker 1: Yeah, well let's look at that in life aquatic, which
• 8:49
  Speaker 1: certainly has a vibe and a mood.
• 8:54
  Speaker 5: We got to be quick.
• 8:55
  Speaker 2: Where are they unknown?
• 8:57
  Speaker 7: Spit into two groups. I'll take ned Ogata.
• 8:59
  Speaker 5: And we'll thanks thanks a lot for not picking me what.
• 9:05
  Speaker 7: We're smack in the middle of a lightning strike. Rescue
• 9:07
  Speaker 7: ot Klaus.
• 9:08
  Speaker 5: What's the deal. I'm sick of being on the squad.
• 9:10
  Speaker 7: Listen, you may be on be squad, but you're the
• 9:12
  Speaker 7: be squad leader, don't you know?
• 9:17
  Speaker 5: Me and Esteban always thought her to he was.
• 9:18
  Speaker 4: Our baby brother. I've always thought of you too.
• 9:22
  Speaker 5: Us My dad's please don't live anyone to make fun
• 9:26
  Speaker 5: of me for sein.
• 9:27
  Speaker 7: So I can't guarantee you that clossey, but I'll.
• 9:30
  Speaker 1: Try curious for any reactions you have. And tying that
• 9:34
  Speaker 1: to the theme in the current film, the missing father figure,
• 9:38
  Speaker 1: the search for the replacement father figure is something you
• 9:42
  Speaker 1: keep coming back to.
• 9:43
  Speaker 2: And I've read that.
• 9:43
  Speaker 1: You've said you can't help but have yourself and your
• 9:46
  Speaker 1: life experiences in some of this work.
• 9:48
  Speaker 2: So anything you want to say about that and that scene, well.
• 9:54
  Speaker 4: You know that, yes, you know that's funny because we're
• 9:57
  Speaker 4: talking about it in a way. That scene has a
• 9:59
  Speaker 4: character who's the so a father figure to the other one.
• 10:02
  Speaker 4: I think they're exactly the same age or almost exactly
• 10:05
  Speaker 4: the same age, those two guys, and you know that's
• 10:08
  Speaker 4: Bill Murray Willhelm Dafoe. But that's the dynamic for me.
• 10:14
  Speaker 5: It's true.
• 10:14
  Speaker 4: I've had again and again I've had characters who I've
• 10:18
  Speaker 4: had fathers bad fathers in my movies.
• 10:21
  Speaker 5: I had a good father.
• 10:23
  Speaker 4: But you know, I think what happens in your what
• 10:28
  Speaker 4: happens when you're This is.
• 10:30
  Speaker 5: My theory the work you make.
• 10:34
  Speaker 4: If you have a longish career making some kind of
• 10:37
  Speaker 4: artwork or writing or making films or whatever it is,
• 10:41
  Speaker 4: you have a sort of well of things from the
• 10:43
  Speaker 4: early part of your life. And in spite of the
• 10:47
  Speaker 4: fact that you're learning new things, you're researching new things,
• 10:49
  Speaker 4: you're reading all the time, whatever it is you're using
• 10:52
  Speaker 4: that you're discovering, somehow you're still drawing from this old well,
• 10:57
  Speaker 4: which is, you know, mostly is probably the house you
• 11:00
  Speaker 4: grew up in. And so I feel like, you know,
• 11:06
  Speaker 4: somehow my movies probably come out of my house in Houston, Texas.
• 11:10
  Speaker 1: Yeah, the house you grew up in. Which brings us
• 11:13
  Speaker 1: to something I wanted to read to you about tapping
• 11:17
  Speaker 1: that in a way that connects with people. This writer
• 11:23
  Speaker 1: Whitney Dilley says, the genius of Anderson is reproducing the
• 11:29
  Speaker 1: emotional wonder of a child, as if viewing something for
• 11:31
  Speaker 1: the first time, stun thrilled, overwhelmed, and it results in
• 11:35
  Speaker 1: a vivid perception of reality in the films that creates
• 11:37
  Speaker 1: a sense of hyper nostalgia in the viewer. You far
• 11:42
  Speaker 1: be it from us to throw a bunch of you know,
• 11:45
  Speaker 1: film critique and lit at you.
• 11:47
  Speaker 2: But you did just bring that up.
• 11:50
  Speaker 1: I mean, do you find that that's just your natural
• 11:52
  Speaker 1: thing and it works, or you do hope as that
• 11:55
  Speaker 1: writer theorizes to bring us closer to our childhood selves.
• 12:00
  Speaker 4: Well, I, you know, I with the kind of movies
• 12:03
  Speaker 4: I do, generally, there's not an emotional reaction that we're
• 12:10
  Speaker 4: specifically trying to evoke.
• 12:12
  Speaker 5: You know, you make a hitchco me, you make whatever.
• 12:16
  Speaker 4: Is this scene we want to scare you, that scene
• 12:19
  Speaker 4: we want a thrill. Now I have scenes like that,
• 12:22
  Speaker 4: But often I feel in my films I'm kind of
• 12:25
  Speaker 4: trying to do two things at once. Maybe have something
• 12:28
  Speaker 4: that is has and it has an emotional core, but
• 12:31
  Speaker 4: is maybe at the same time funny, and sometimes one
• 12:35
  Speaker 4: person might interpret it one way in someone else another
• 12:38
  Speaker 4: another way, and it's less Uh, it's less targeted. I
• 12:42
  Speaker 4: guess my usual thing. But I quite like what that
• 12:47
  Speaker 4: person has written there.
• 12:48
  Speaker 5: I do I relate to it. I think, you know,
• 12:50
  Speaker 5: I'm if.
• 12:52
  Speaker 4: It wasn't about me. I'd be interested to read that book.
• 12:56
  Speaker 2: Great line, I get what you're saying.
• 12:57
  Speaker 1: Uh yeah, Because then we have this this exploration of
• 13:04
  Speaker 1: the relationship between adults and children, and adults, we are
• 13:07
  Speaker 1: told in psychology, have an inner child, and children have
• 13:10
  Speaker 1: a liminal period we call adolescents.
• 13:12
  Speaker 2: All of that is it really keeps coming out in
• 13:14
  Speaker 2: your films and.
• 13:15
  Speaker 1: Rushmore I mentioned to you is my favorite film and
• 13:19
  Speaker 1: plays with that idea. And a question has been posed
• 13:22
  Speaker 1: out there. You know, why do Wes Anderson's child characters
• 13:28
  Speaker 1: sound like adults and his adult characters sound like children?
• 13:32
  Speaker 2: You have you heard that question? And do you have
• 13:33
  Speaker 2: an answer? Well?
• 13:35
  Speaker 4: You know what I think is I find in this
• 13:40
  Speaker 4: is a generalization.
• 13:42
  Speaker 5: Maybe it's not accurate.
• 13:44
  Speaker 4: It's often I feel that it's more likely for a
• 13:48
  Speaker 4: grown man to sort of act like an adolescent or
• 13:51
  Speaker 4: a child than a grown woman. I feel there's something
• 13:55
  Speaker 4: that often men have a more stunted journey towards there,
• 14:00
  Speaker 4: towards wisdom or maturity. Uh And and I think I've
• 14:07
  Speaker 4: often explained, you know, I've often had characters like that
• 14:10
  Speaker 4: in our films.
• 14:12
  Speaker 5: I think children often will.
• 14:17
  Speaker 4: Address things very directly and they they have a kind
• 14:21
  Speaker 4: of focus and even making films. You know, I've often
• 14:25
  Speaker 4: worked with I've had lots of children in our films,
• 14:28
  Speaker 4: and I find they're often the most disciplined. They know
• 14:31
  Speaker 4: the script like the script supervisor does from the beginning
• 14:34
  Speaker 4: of the movie.
• 14:35
  Speaker 5: They have the whole thing memorized, and while.
• 14:36
  Speaker 4: Everybody else is flipping through their pages and trying to
• 14:38
  Speaker 4: remember their lines, they can tell them what they're supposed
• 14:41
  Speaker 4: to say those you know, some of that that that
• 14:44
  Speaker 4: comes from my own experience, and I think that probably
• 14:47
  Speaker 4: goes into the films too.
• 14:49
  Speaker 2: Interesting.
• 14:50
  Speaker 1: We have something we cut that's a bit of a
• 14:52
  Speaker 1: tribute that looks across your work. I have to ask,
• 14:55
  Speaker 1: have you ever seen these screen junkies honest trailers where
• 14:59
  Speaker 1: they look at people movies.
• 15:02
  Speaker 4: You mean, like somebody watching a trailer for the first time.
• 15:05
  Speaker 1: Well, they remake They remake Wes Anderson trailers in their
• 15:08
  Speaker 1: own voice, basically.
• 15:10
  Speaker 5: Oh, I see so I haven't seen it.
• 15:13
  Speaker 2: Well, so we're going to show you a little bit
• 15:15
  Speaker 2: of it. They have one called every.
• 15:16
  Speaker 1: Wes Anderson movie Ever basically, although it cuts off at
• 15:19
  Speaker 1: a certain timeline, and the list.
• 15:22
  Speaker 5: That has my actual movies in it.
• 15:24
  Speaker 4: Yeah, that pieces of my actual movie.
• 15:27
  Speaker 2: Yeah yeah, so they view it as a tribute. They
• 15:29
  Speaker 2: love film.
• 15:30
  Speaker 1: So I'm going to show you a little bit of
• 15:32
  Speaker 1: one of those, a little bit of the SNL skit
• 15:34
  Speaker 1: you may have seen, as a way to look at
• 15:36
  Speaker 1: how the style you have is created not only you know,
• 15:40
  Speaker 1: an audience, duh, but a kind of a fascination with you,
• 15:45
  Speaker 1: as they put it, becoming a genre on to yourself.
• 15:48
  Speaker 2: Take a look before.
• 15:50
  Speaker 9: You see the whimsical new animated feature from your barista's
• 15:54
  Speaker 9: favorite director, Revisit all his meticulously crafted awkward family fables
• 15:59
  Speaker 9: that make you kind of happy, kind of sad, and
• 16:02
  Speaker 9: kind of unsure when you're supposed to laugh or not.
• 16:05
  Speaker 7: There's a guy with a meat animal record player, one's
• 16:09
  Speaker 7: carrying a falcon, the twins and matching track suits.
• 16:12
  Speaker 2: Hey look at that. Why that's Danny.
• 16:14
  Speaker 10: Glover, Hello, Sally Forth and Tally Hoe with director Wes Anderson,
• 16:21
  Speaker 10: whose style is so specific he's basically his own genre.
• 16:26
  Speaker 2: Who here are the murderers?
• 16:28
  Speaker 5: I see he'll end up happy.
• 16:32
  Speaker 9: I think it's sort of hard to tell, but that's
• 16:35
  Speaker 9: what makes it artistic.
• 16:38
  Speaker 2: What do you think, Well, you know, I think.
• 16:44
  Speaker 5: I don't I don't know, all right.
• 16:46
  Speaker 4: I mean, you know, I I saw the Saturday Night
• 16:50
  Speaker 4: Live with when Edward Norton was on there.
• 16:52
  Speaker 5: In fact, he asked.
• 16:54
  Speaker 4: Me while he was so that was a Saturday Night
• 16:57
  Speaker 4: Saturday Night Live parody of my film as a horror movie.
• 17:01
  Speaker 4: But while Edward Norton and Edward was the host of
• 17:04
  Speaker 4: Saturday Night Live, he kept calling me and asking to
• 17:09
  Speaker 4: borrow my personal property. My shoes went different, different wardrobe items.
• 17:17
  Speaker 4: It made me very suspicious. I knew, you know, something
• 17:20
  Speaker 4: he was covering up. But but yeah, I enjoyed it,
• 17:26
  Speaker 4: you know, I mean, to me, you.
• 17:30
  Speaker 5: Know, a parody it was, there's a parody. Well, you know,
• 17:33
  Speaker 5: it's I like that.
• 17:35
  Speaker 4: It shows people are interested. I can't say I watched
• 17:39
  Speaker 4: the parody and feel that's me. I you know, my
• 17:42
  Speaker 4: first ration is I hope that's not me.
• 17:46
  Speaker 5: But it's definitely it's definitely a little bit of me.
• 17:49
  Speaker 4: Right, And but the main thing is, you know, it's
• 17:52
  Speaker 4: a it's it's it's it's encouraging when people engage with
• 17:57
  Speaker 4: the thing that you make on an on an ongoing basis,
• 18:02
  Speaker 4: And yeah, that's you know, that's what you kind of
• 18:06
  Speaker 4: hope for.
• 18:06
  Speaker 2: Yeah, that makes sense.
• 18:07
  Speaker 1: I mean, it's a fairly reason and kind of humble reaction,
• 18:12
  Speaker 1: if I may, but that makes sense. Before we let
• 18:16
  Speaker 1: you get out of here on Mavericks, we love to
• 18:18
  Speaker 1: do a lightning round Houston or New York.
• 18:21
  Speaker 4: New York is the place where I always wanted to
• 18:24
  Speaker 4: live when I was growing up in Houston.
• 18:27
  Speaker 2: What do you cut first? Scenes or shots?
• 18:32
  Speaker 4: You know, the shots are the building blocks of the scene,
• 18:37
  Speaker 4: semi colon, the scene is the building block of all
• 18:48
  Speaker 4: of cinema.
• 18:51
  Speaker 2: I know a film is done when.
• 18:56
  Speaker 4: See For me, the movie has many many endings because
• 19:00
  Speaker 4: there's there's such an involved process of polishing a movie.
• 19:05
  Speaker 4: But I think in a way, the moment when you
• 19:08
  Speaker 4: kind of know the music the movie's done is when
• 19:11
  Speaker 4: the music is right when you when you filled it
• 19:14
  Speaker 4: with the sounds that are going to hold it together,
• 19:17
  Speaker 4: that kind of tells you this is the movie.
• 19:20
  Speaker 1: M The Wes Anderson movie character I most identify with is.
• 19:28
  Speaker 5: I I hate to give a too literal of an answer.
• 19:31
  Speaker 4: I like to say something glib, but the truth is
• 19:35
  Speaker 4: I think instead of saying that clib, I would probably
• 19:38
  Speaker 4: say Jason Schwartzman's character in Rushmore is the one you know,
• 19:44
  Speaker 4: Owen Wilson and I wrote that together, and somehow I
• 19:48
  Speaker 4: think we wrote a script about the two of us.
• 19:51
  Speaker 4: In a way, it was our friendship that made this
• 19:55
  Speaker 4: movie happen, and the character is both of us kind
• 19:59
  Speaker 4: of bit combined and then taken over by Jason Schwartzman
• 20:04
  Speaker 4: and turned into something new.
• 20:05
  Speaker 2: Yeah, that makes sense.
• 20:07
  Speaker 1: Final two, given your time, more, ye, failure means and
• 20:13
  Speaker 1: success means, and I end on those because in researching you,
• 20:16
  Speaker 1: there's so many people who follow you, young artists in
• 20:21
  Speaker 1: film and other genres, interested in how you started independent,
• 20:24
  Speaker 1: did your thing, maintain your style, So people do want
• 20:27
  Speaker 1: to know.
• 20:27
  Speaker 2: So failure means.
• 20:34
  Speaker 4: Well, I kind of think failure means get on to
• 20:39
  Speaker 4: the next thing.
• 20:41
  Speaker 5: You know.
• 20:41
  Speaker 4: That's sort of that's sort of my my my attitude
• 20:45
  Speaker 4: about it.
• 20:45
  Speaker 5: I don't even know what, you know.
• 20:46
  Speaker 4: Sometimes you fail sometimes something, Sometimes you feel like you're
• 20:49
  Speaker 4: failing or you failed in something, and in time it
• 20:53
  Speaker 4: kind of comes back to you when you say, I
• 20:55
  Speaker 4: think I see what we were doing and what we did, and.
• 21:01
  Speaker 5: So yeah, I think for me, it's it's always.
• 21:06
  Speaker 4: Really about you making something and then making something else,
• 21:11
  Speaker 4: and finally success means success. I sort of feel I
• 21:21
  Speaker 4: would put a pin in and uh and wait and see,
• 21:25
  Speaker 4: you know, because you know, there's no moment where I don't.
• 21:28
  Speaker 4: I've never had them away. I feel like now that
• 21:30
  Speaker 4: now there's a great now I feel I've certainly not
• 21:33
  Speaker 4: personally ever felt like I've made a great success of
• 21:38
  Speaker 4: my of anything. I feel I've made films. I've done
• 21:43
  Speaker 4: things I aim to do which I and I've been lucky,
• 21:46
  Speaker 4: you know. I mean, I I wanted to be a
• 21:47
  Speaker 4: movie director. I've become a movie director.
• 21:49
  Speaker 5: I've done that. But it's always an ongoing thing.
• 21:53
  Speaker 4: So it's it's always it's you know, it's always it's
• 21:58
  Speaker 4: the same answer as failure. Maybe we're going to kip
• 22:03
  Speaker 4: one on that.
• 22:04
  Speaker 1: Yeah, maybe there's something there. Director Wes Anderson, thank you
• 22:08
  Speaker 1: for joining us. The new film is The Venetian Scheme,
• 22:13
  Speaker 1: available in all theaters nationwide,