#rushmore

[lithub]

All the fake books in Wes Anderson’s multiverse, ranked.

This week, Wes Anderson’s latest concoction, The Phoenician Scheme, hits screens. And thanks to this latest work from a pointillist who love

Which is the best fake book from a Wes Anderson movie? Brittany Allen investigates.

[tomcat-radio]

Getting into Wes Anderson and don’t know what to watch? Refer to this handy dandy flow chart I made.

[chrasilla]

i love wes anderson's regulars because if i was a famous director i too would only do stuff with my friends and include them in everything i do

[lscallop]

— jason schwartzman as max fischer in "rushmore" (1998) icons !

please like/reblog if u save or use it!

[psychic-room]

well??

[orbiten]

“My whole attitude is that, when you work – I try as best I can to pretend I haven’t done anything before, just so that I don’t compare it to anything, because nothing can be like the other thing before it.” — JASON SCHWARTZMAN (born June 26, 1980)

[serviceable-mechanism]

Deeply fascinated by the contrast between the tone and style of Wes Anderson’s films, and their actual subject matter, especially through a sexual lens. He could be on here with the rest of us, making tranny incest flop posts, but that veneer of twee dreamlike sadboy innocence gives a sense of broader respectability that smooths over those rough edges.

He gives us (entirely unrequited) teacher-underage student in Rushmore, brother-sister romance (adopted, but raised as siblings since early childhood) in the Royal Tenenbaums, a frank depiction of early sexuality in Moonrise Kingdom, and the uncertain sexuality of M. Gustav in the Grand Budapest Hotel, a character depicted with a clear foppish manner, who references his own homosexuality frequently and is called a faggot on multiple occasions, yet is only ever actually depicted having sex with women.

Nearly all his films, one way or another, are about romance and sexuality. But of a very specific type. Deviant and societally unacceptable, but only ever up to a point. Only in limited degrees. It’s almost a restrained viewpoint; that of a man desperate to explore the topic of abnormal sexual desire through his art, but also incapable of conceptualizing anything truly out of the bounds of traditional societal mores. He wants to be a freak. But is it either his own limited perspectives, or the maintenance of his position as an indie darling, that prevent him from ever truly being one

I think that’s solvable though. Many filmmakers have one work the defines the entirety of their career. An opus, that expresses the ideas they work into each of their pieces in the finest and clearest way they are capable of. Their true legacy. I believe that Wes Anderson’s opus exists, as of yet, only in potentia. It could be made, but doing so would require unshackling the man himself

With only six months locked in the boiler room beneath my apartment building, fed a steady diet of only the very best HDG fiction, transgender incest smut, conversations with Asian women about their fetishization by mediocre white dudes, and estrogen, I believe this could be achieved.

[unbfacts]

Director Wes Anderson uses a flat-fee system where actors on the same film are paid the same rate. He says he started this on Rushmore after Bill Murray offered to take the same pay as 18-year-old Jason Schwartzman—on the condition he could leave for a golf tournament.