![]() ![]() There’s no call sheet, there’s no, “I’m number one on the call sheet. ![]() There is no hierarchy in a Wes Anderson movie. You just let go of all that preconceived ideas and the way you approach other films, and you just fall back and get into the flow of that odd sensibility that he has and just flow with it and be part of the company. So you just have to be ready to experience it and adapt and be flexible. ![]() He’s so specific and so pure in his thinking that you can’t predict how he is going to do any one thing. That’s what he meant on that page that was kind of difficult to understand. And we watch it and we realize, Oh, okay, that’s the tone he’s going for. Wes makes an animatic of the entire movie and voices all the characters and gives that-what he calls a cartoon-to the actors on a laptop. You have a lot of action going on behind you, and there’s a particular tone to it. You play the narrator role, which is familiar in his movies and not like narrator roles in other movies. There’s a lot of pomp and circumstance to it, but I’m glad it brings attention to the cinema and theatrical storytelling that is coming soon and gets everybody excited about it.Īsteroid City is the first time you’ve done a live-action film with Wes. What was the experience like?Īnd every single one of those actors are saying to themselves, I’m going to be glad when this is over and I can get out of this tuxedo, or this dress and these high heels, and just get into sweats and have a glass of wine. I’m always fascinated by the photo calls you guys do with this immense glamour behind you and all these unbelievable actors lined up. Especially when you’re with a Wes Anderson movie. ![]()
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