Matt Zoller Seitz - The Wes Anderson Collection
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- Book:The Wes Anderson Collection
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The Wes Anderson Collection: summary, description and annotation
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Writer/director Wes Anderson guides movie/television critic Matt Zoller Seitz through Andersons life and career in a hardcover book-length conversation, woven together with original illustrations and production images fromBottle Rocket, Rushmore, The Royal Tenenbaums, The Life Aquatic with Steve Zissou,The Darjeeling Limited, Fantastic Mr. Fox, and Moonrise Kingdom.
The result is a meticulously desiged book that captures and reflects the spirit of Wes Andersons movies: melancholy, playful, wise, and wonderfully unique.
Praise for The Wes Anderson Collection:
In The Wes Anderson Collection, Seitz expands a series of video essays on Andersons influences, illuminating as much of Andersons process as possible in a massive, beautifully rendered volume. Although it looks (and sometimes reads) like a coffee table book, The Wes Anderson Collection brings together style and substance to provide a loving homage to Andersons films and moviemaking in general. The A.V. Club
Your coffee table wantsno, scratch thatneeds this book . . . Packed with 400 images of everything from behind-the-scenes set shots to makeup inspiration to hand-drawn storyboards, the massive tome is pure eye candy. But in addition to the visuals, Seitz also dives deep into each and every Anderson film. NYLON
A magical tour of Wes Andersons filmography. C magazine
Each page of this bookfilled with conversations, photographs and artwork surrounding each filmshowcases Andersons pop-culture inspirations from Hitchcock and Star Wars to Jacques Cousteau and the French New Wave. Better than most of their kind, the talks reveal a candidness and honesty between critic and director, allowing Seitz to dig around Andersons vault and share his discoveries. FILTER
The Wes Anderson Collection comes as close as a book can to reading like a Wes Anderson film. The design is meticulously crafted, with gorgeous full-page photos and touches like a still representation of Rushmores opening montage. The A.V. Club
Reading the book, you feel as if youre disappearing into the miniature world of Andersons movies, like youre playing around in the files and fastidiously kept dossiers assembled for each project. In this way, the book mimics the work. Complex.com
Its smart, informative, and looks beautiful. In other words, its the perfect gift. Complexmagazine
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by
MATT ZOLLER SEITZ
with an introduction by
MICHAEL CHABON
Photograph by Deanna Newcomb
Photograph by Van Redin
Photograph by Laura Wilson
Photograph by Philippe Antonello
Photograph by James Hamilton
Photograph by Ray Lewis
Photograph by Niko Tavernise
by
MATT ZOLLER SEITZ
with an introduction by
MICHAEL CHABON
ABRAMS, NEW YORK
For
HANNAH & JAMES
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The 1,265Word
HE WORLD IS SO BI G, so complicated, so replete with marvels and surprises, that it takes years for most people to begin to notice that it is, also, irretrievably broken. We call this period of research childhood.
There follows a program of renewed inquiry, often involuntary, into the nature and effects of mortality, entropy, heartbreak, violence, fail- ure, cowardice, duplicity, cruelty, and grief; the researcher learns their histories, and their bit- ter lessons, by heart. Along the way, he or she discovers that the world has been broken for as long as anyone can remember, and struggles to reconcile this fact with the ache of cosmic nostalgia that arises, from time to time, in the researchers heart: an intimation of vanished glory, of lost wholeness, a memory of the world unbroken. We call the moment at which this ______
ache first arises adolescence. The feeling haunts people all their lives.
Everyone, sooner or later, gets a thor- ough schooling in brokenness. The question becomes: What to do with the pieces? Some people hunker down atop the local pile of ruins and make do, Bedouins tending their goats in the shade of shattered giants. Others set about breaking what remains of the world into bits ever smaller and more jagged, kicking through the rubble like kids running through piles of leaves. And some people, passing among the scattered pieces of that great overturned jigsaw puzzle, start to pick up a piece here, a piece there, with a vague yet irresistible notion that perhaps something might be done about putting the thing back together again.
Two difficulties with this latter scheme at once present themselves. First of all, we have only ever glimpsed, as if through half-closed lids, the picture on the lid of the jigsaw puzzle box. Second, no matter how diligent we have been about picking up pieces along the way, we will never have anywhere near enough of them to finish the job. The most we can hope to accomplish with our handful of salvaged ___________
by Michael Chabon
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THE WES ANDERSON COLLECTION
bitsthe bittersweet harvest of observation and experienceis to build a little world of our own. A scale model of that mysterious original, unbroken, half-remembered. Of course the worlds we build out of our store of fragments can be only approximations, partial and in- accurate. As representations of the vanished whole that haunts us, they must be accounted failures. And yet in that very failure, in their gaps and inaccuracies, they may yet be faithful maps, accurate scale models, of this beautiful and broken world. We call these scale models works of art.
In their set design and camerawork, their use of stop-motion, maps, and models, Wes Andersons films readily, even eagerly, concede the miniature quality of the worlds he builds. And yet these worlds span continents and decades. They comprise crime, adultery, brutality, suicide, the death of a parent, the drowning of a child, moments of profound joy and transcendence. Vladimir Nabokov, his life cleaved by exile, created a miniature version of the homeland he would never see again and tucked it, with a jewelers precision, into the housing of John Shades miniature epic of family sorrow. Andersonwho has suggested that the break-up of his parents marriage was a defining experience of his lifeadopts a Nabokovian procedure with the families or quasi-families at the heart of all his films from Rushmore forward, creating a series of scale- model households that, like the Zemblas and Estotilands and other lost kingdoms by the sea in Nabokov, intensify our experience of broken-ness and loss by compressing them. That is the paradoxical power of the scale model; a child holding a globe has a more direct, more intui-tive grasp of the earths scope and variety, of ____
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