I tried to be kind of a little bit relentless about getting all the details exactly, exactly
as we planned them.
So I think when people see it, they say, well, this is the script that was written, and it's
all in here, because before, you know, I had stuff where there was some sort of plan, and
then some sort of say, well, this will be just as good.
But then, yeah, I feel like, you know, let's just do what was planned, because sometimes
I'll even forget why I wanted to do this, wanted to do something in an exact way.
And later I realized, oh, I wanted to do it that way, because it ties into this thing
at the end of the movie or something like that.
I feel like whatever feeling a movie has comes from a bunch of preconceived ideas about something,
the visual, the music, the way the actors will play the scenes, but the actual way,
what it adds up to be is sort of always a surprise, you know?
Even if you planned everything when you add it up, it's never what you exactly would expect,
because you never could quite fully picture it.
Look at Dad's tie.
You love those tracking shots, and you're so good at choreographing them.
There are some shots in the movie that are so perfectly synchronized, where things are
moving in and out of the frame at exactly the right time.
First I'd like to know why you love that kind of shot so much, that kind of shot that you've
become famous for.
Well, I have always been drawn to long takes in films, and movies, I like the experience
of seeing the actors play the scene through, and maybe that's like the theater a bit, not
having cuts.
There's something that gives attention, and for me, a kind of excitement.
I don't know if this could be considered a positive thing or not, but I like having
a cast do something difficult in a shot.
I enjoy it when there's a challenging blocking in actors that I've worked with, like Jason
Schwartzman, for instance, who's worked with me for a long time, or Bill Murray.
These guys, they've done lots of shots like this with me, and it's fun.
And do you feel like a genre to yourself, I mean, a Wes Anderson movie is definitely
a Wes Anderson movie, and on the other hand, some of the French films are more, you know,
do you see more of a natural fit into the French cinema in the American?
Well, I definitely think that I've always struggled to say what genres, I mean, even
the broadest ones of comedy and drama, I've never really fit into one or the other, so.
But yeah, I don't know.
Do you see yourself being unique in American cinema in that way, or are you just doing
the job, just doing the work you want to do?
I guess more of the latter.
But there's times when you seem to really be going for a storybook illustrated two-dimensional
look.
Flat.
Yes, flat, yes.
And something in the visuals, you know, I did want to have a sort of storybook feeling,
but I also think, I have this feeling, I was just thinking about this because of a question
somebody asked me recently.
I have always wanted to work in the theater, but I've never actually done it, not since
I was in fifth grade.
But I've had many plays in my films, and maybe theater is a part of my movie work, and that
is part of what I think you're describing, is something to do with that.
