Wes Anderson, director of such films as The Royal Tenenbaums, The Life Aquatic with Steve Zissou, The Darjeeling Limited, and Fantastic Mr. Fox, shares his vision and creative process in this Wall Street Journal excerpt.
On changing life plans as he was growing up:
I didn’t grow up wanting to make movies; what I really wanted to be was an architect. I had this drafting table with all these little instruments I would arrange carefully around the edges. I used to draw everything. When I was in fifth grade, I started to make Super 8 movies, and I liked that very much. I also got interested in George Lucas at about that time, and then, by seventh grade, I became obsessed with Alfred Hitchcock. But I still wanted to be an architect. Sometimes I thought I might also like to be a writer. I didn’t settle on film until I was in college.
There were two reasons I became a filmmaker instead of, say, a novelist. I have always been interested in the visual composition of things. It’s part of why I liked to draw so much. But I also love to put on a show. In fact, I enjoyed that long before I even thought about making movies. I’m not essentially a camera guy; I don’t take very good still photographs and I never have. But I do feel comfortable with the other aspects of filmmaking.
On handling criticism:
People respond strongly to my work, one way or another. I care about critics in the sense that if you have a good review, it’s nice to hear about it, and if you have a bad review, it’s quite nice not to hear about it. When I am making a movie, I try to put all of that out of my mind and think just about the world I am creating. When people criticize my work, they often seem to say either that my worldview is too specific or, “Who needs your world?” Those are not criticisms that resonate with me, because what fictional world do you actually need?
On sticking with small budgets for films (my favorite portion of the interview):
I have been asked why I don’t make a big-budget movie or what’s considered a Hollywood movie. I don’t feel particularly compelled to do that sort of thing. The more economical you can be, the more fun you are going to have. I find it all slows down when it gets really big. The process can be so much more light on its feet and inspiring when you are nimble.
On the collaborative process:
The collaborative process doesn’t end for me with writing. If anything, it intensifies when we are on the set. Even if I know exactly what I want when I am filming, I need people to help me figure out how to get that across. Sometimes knowing what you want doesn’t mean you know how to make it happen or how to communicate it to an audience. There are any number of people whom I rely on to different degrees—the cinematographer Bob Yeoman; Roman, in the past; Jeremy Dawson, who produces, is very involved. And of course my editor, Andy Weisblum, is a key person for me. A good part of what I want them all to do is to prevent me from making mistakes.
I am not the biggest fan of Anderson’s works, but I did enjoy reading the interview.