From Rotten Tomatoes’ “Five Favorite Films with Wes Anderson.”
Rosemary’s Baby (Roman Polanski,
1968): “This has always been a big influence on me, or a source of
ideas; and it’s always been one of my favorites.”
A Clockwork Orange (Stanley
Kubrick, 1971): “It’s a movie that’s very particularly designed and, you
know, conjures up this world that you’ve never seen quite this way in a
movie before.”
Trouble in Paradise (Ernst
Lubitsch, 1932): “I don’t know if anybody can make a movie like that
anymore—that perfect tone, like a “soufflé”-type of move. A confection, I
guess.”
From the New York Daily News’ “Wes Anderson’s 10 Favorite New York Movies.”
Moonstruck (Norman Jewison, 1987): “I’ve always loved this script. It’s a very well-done Hollywood take on New York.”
Sweet Smell of Success
(Alexander Mackendrick, 1957): “Here’s a classic staple of New York
movies. The look of it is this distilled black-and-white New York and
Clifford Odets writes great dialogue.”
Next Stop, Greenwich Village
(Paul Mazursky, 1976): “I saw the movie many years ago and I don’t
really remember much other than loving it. I love Paul Mazursky’s films.
He’s a New Yorker who is a great writer-director.”
From the Criterion Collection’s “Wes Anderson’s Top 10.”
The Earrings of Madame de… (Max Ophuls, 1953): “Max Ophuls made a perfect film.”
The Taking of Power by Louis XIV
(Roberto Rossellini, 1966): “The man who plays Louis cannot give a
convincing line reading, even to the ears of someone who can’t speak
French—and yet he is fascinating…. What does good acting actually mean?
Who is this Tag Gallagher?”
Classe tous risques (Claude Sautet, 1960): “I am a great fan of Claude Sautet, especially Un coeur en hiver.”
The Exterminating Angel (Luis
Buñuel, 1962): “He is my hero. Mike Nichols said in the newspaper he
thinks of Buñuel every day, which I believe I do, too, or at least every
other.”
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