Wes Anderson Quotes - Page 2

If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.

It's not usually that great of an idea to read lots of reviews of your movies, because even if somebody's saying nice things, there'll still be something in there that pushes the wrong button, and it's not really that helpful.

Do you know how writers often say the characters take over... But that is more or less what it always feels like to me, too. Even though that's just a way of describing how your brain is working, it's still what you tend to feel.

When something is discovered by people in movie theaters, it's discovered by people who are all together, and there's a sort of feeling of an event about it. And when it's on video, it's like something is being discovered in the library or something. It's like having a second life in public libraries. It's just like individuals, and it's less of a... We can't participate in it the same way.

I didn't think so much of him at first. But now I get it: he's everything that I'm not.

When I see the first dailies on any movie, I usually feel that I had no idea how this combination of ingredients was going to mix together, what it was going to produce.

Any time someone doesn't like one on the first run, I hope they will give it another shot. At least we'll get another chance. But I do feel, in my approach, I am not really a minimalist. I don't like to leave out ideas that I think could add something to the story. Sometimes, you can't quite pick up on all of it in one sitting. It's not by design. But maybe it's a side effect of my approach.

I love working with actors. That's what the set really is, for me. It's my time with the actors.

Animating is a very slow, pain-staking process and the animators become the actors at that point.

the one thing I've observed over the years is the best way to get an actor to not want to play a certain role is to offer it to them. That makes them say, "Well, maybe it's not that good. These guys don't want me to do this..."

The kids are the ones that have a clarity about what they want. They don't have any wisdom, but they do have a clear understanding about what they want to have happen.

The only thing that takes away from it is when they steal some music from one of my movies and put it in a TV commercial. I am not crazy about influencing TV commercials. But if I legitimately influence someone making a movie, I think that is really flattering.

Sometimes when you're editing a movie, you have the thing that you don't expect - which is you make it longer and longer as you go along.

The subject of an outsider who becomes obsessed.

A prototype is always more expensive than anything.

I've never had a movie that got great reviews. I've had movies that got different levels of good and bad reviews, but you can more or less count on plenty of bad reviews.

Any romantic feelings for a 12-year-old are like entering into a fantasy world.

India is a place where one of the great pleasures for a foreigner is that you're constantly surprised. Everywhere you look is something that is either funny, or very moving, but there is always so much that is so unexpected.

I'm very sorry for your loss. Your mother was a terribly attractive woman.

I just now put [Robert Altman] down feeling heartbroken but happily and deeply inspired. . . . Wonderful.

My experience with casting children is that... the whole movie is going to rest on their shoulders, so you have to set aside time and wait for the perfect people to appear.

The thing with animation is that you record the actors like a radio show and then the animators become actors in their own way because it's their job to take this puppets and make them seem alive. They bring their own personalities to the way they move these puppets.

When you finish work, practically everybody in that place is going to watch a movie at night anyway. They're tired. They have dinner. They go up to their room. They're watching TV.

Mostly with commercial work, it isn't about personal vision. It's not a personal effort, it's work for hire. That's more my attitude with those. You just want to be a professional worker.

I will say that Edward Norton, who plays the scout master, would be a first-rate Eagle Scout. He's got all those techniques. If your plane crashes into the jungle somewhere, he would be the guy you would want to have with you.