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SERVICES

ACROSS
1 Stick a toothpick
in
6 Former auto
financing co.
10 Get smart with
14 “The Chew” 
co-host Hall
15 Dinghy steering
tools
16 Award coveted
on “Mad Men”
17 In the sky
18 “This Kiss”
country singer
20 City near
Scottsdale
21 Cookbook
maven
Rombauer
22 Childish retort
23 Freeway division
25 Go quickly,
quaintly
26 Swindler’s
swindle
33 Pain-relieving
drug
34 Sailor
35 “__ Tide!”:
Alabama cheer
37 Derby-wearing
Addams cousin
38 Soaked in hot
water, as a tea
bag
41 “Argo” spy gp.
42 Blaze
44 Braying beast
45 Nautical measure
47 Important
percentage to a
prosecutor
50 Animation still
51 First Nations
tribe
52 Hawke of
“Training Day”
55 RR station
posting
57 Save, with
“away”
61 Heir’s financial
security
63 Scrabble 
10-pointer
64 PetSmart
purchase
65 Environs
66 Metallic mixture
67 Gps. requiring
copays
68 Abound (with)
69 Younger siblings,
at times

DOWN
1 Bogus offer
2 Light in color
3 Arrow shooter of
myth
4 “Our Gang” kid
with spiky hair
5 Chinese zodiac
animal
6 Be released
7 Respectful
address
8 Song often sung
in Italian
9 Ill. clock setting
10 Bagel spread
11 Touched down
12 Where feed can
be stored
13 Unaided
19 Reagan’s first
secretary of state
21 With all the fine
points
24 River isles
25 British cattle breed
26 Salon do
27 __ nerve
28 Explosive liquid,
briefly
29 Modern mil.
treaty violation
30 Keep from going
higher
31 Starbucks flavor

32 “Adam Bede”
novelist George
36 Like a weak
excuse
39 Changed-my-
mind key
40 Great __: big dog
43 Crates up
46 Railroad bridge
framework
48 Opening for air
49 Winter river
blockage

52 Make a fine
impression?
53 Monorail transport
54 Award for Isaac
Asimov
55 “By all means!”
56 Replaceable joint
58 Masseur’s supply
59 Coagulate
60 Door openers
62 Liposuction target
63 Heat in a
microwave

By Gail Grabowski and Bruce Venzke
©2018 Tribune Content Agency, LLC
04/10/18

04/10/18

ANSWER TO PREVIOUS PUZZLE:

RELEASE DATE– Tuesday, April 10, 2018

Los Angeles Times Daily Crossword Puzzle

Edited by Rich Norris and Joyce Nichols Lewis

FALL 2018 HOUSES
# Beds Location Rent
 5 1016 S. Forest $3600
 4 827 Brookwood $2900
 4 852 Brookwood $2900
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Tenants pay all utilities.
Showings scheduled M‑F 10‑3 
w/ 24 hr notice required
734‑996‑1991

Classifieds

Call: #734-418-4115
Email: dailydisplay@gmail.com

Jack Brandon: To begin, 
how were you all introduced to 
Anderson’s films?
Danny Hensel: I saw a 
trailer for “Moonrise Kingdom” 
before I was interested in film. 
When I finally watched it, it 
was so different than anything 
I had seen. The dialogue and 
character interactions were 
surreal, and I immediately 
became 
interested 
in 
Anderson’s films and film in 
general. When I realized that 
“The Grand Budapest Hotel” 
was about to come out, I got 
into his catalogue and watched 
them all. 
Stephen Satarino: For me, 
“Fantastic Mr. Fox” existed 
when I was child, before I 
knew what a director was, but 
I was super into it. “Moonrise 
Kingdom” really got me when I 
was older.
Max 
Michalsky: 
I 
remember I went with my mom 
and younger brother to the 
theater, and the first movie we 
wanted to see was sold out, but 
we instead went to see “The 
Grand Budapest Hotel,” and I 
was taken aback by it. It was so 
unique in almost every regard. 
I didn’t care that much about 
movies at that time, so watching 
Wes Anderson was so overtly 

different but still accessible. 
It was what prompted me to 
consider movies an art form. 
I found “Grand Budapest” to 
be a moving film. I don’t think 
Wes Anderson gets enough 
credit for that, I think people 
pigeonhole his films into being 

heady or cold. There’s always 
this human thread running 
through them. I think about 
the traditional Wes Anderson 
dialogue, speaking matter-of-
factly and deadpan.
Sydney Cohen: I remember 
being struck, for the first time 
with “Grand Budapest,” at such 
an overtly stylized film where 
every element and miniscule 
detail is perfectly placed, and 
this gorgeous symmetry I had 

never seen before in a feature 
length film, and I was just 
awestruck by it. Anderson has 
such a distinct brand that it’s 
very impressive, and “Grand 
Budapest” imprinted on me 
the ideas of directors having a 
specific style. 
Jack: So what I’m getting is 
that Anderson’s films are very 
stylized and artistic, but not 
necessarily inaccessible. Why 
do you think that is?
Stephen: 
Thematically, 
he deals a lot with finding 
the family or people coming 
together. 
I 
think 
that’s 
necessarily accessible.
Danny: All of his movies 
borrow from concepts and 
tropes that we’re very familiar 
with. For example, “Fantastic 
Mr. Fox” is a heist movie, and 
with George Clooney as the 
voice actor, who has played 
heist 
characters 
before, 
he makes the film easy to 
read. When we combine that 
familiarity with the genre 
and the actor, and put it in 
a context where it’s quote-
unquote artistic, or maybe 
deadpan, we can still buy into 
the emotional weight that the 
film holds because we’re able 
to recognize their settings 
and 
contexts 
from 
other 
viewings. There’s a line in 
“The Grand Budapest Hotel” 
that breaks me every time: “In 
the end, they shot him.” They 

The king of quirk: A look 
at Wes Anderson’s films

DAILY FILM BEAT
Daily Arts Writers

FILM ROUND TABLE

FOX SEARCHLIGHT

don’t show the death, and it’s 
delivered very simply with no 
affectation. It still obliterates 
me 
because 
knowing 
the 
context, the historical setting, 
the characters and connecting 
with them from the world he 
has established and the one the 
audience lives in.
Max: I think there’s a 
relatability, 
too, 
especially 
in the presentation. If you 
look at “Moonrise Kingdom,” 
“The Grand Budapest Hotel,” 
or “The Royal Tenenbaums,” 
they are all presented as if the 
audience is being told a story. 
There are often narrators or 
third parties observing the 
events of his stories. Anderson 
almost builds in company for 
the viewer, and I think that’s 
a really big thing that makes it 
easy to feel. It almost goes back 
to being a kid and being told a 
story by your parents.
Danny: 
Interestingly, 
I 
think theatre and plays factor 
into a lot of his works, like in 
“Rushmore,” where the main 
character Max is a playwright, 
in “The Royal Tenenbaums,” 
where 
Gwyneth 
Paltrow’s 
character is an award winning 
playwright from a young age 
and in “Moonrise Kingdom,” 
when Sam and Suzy meet for 
the first time.
Stephen: The book motif 
is present too. I heard Wes 
Anderson wanted to write 
novels when he was in college, 
and that shows itself. 
Sydney: The essence of 
childhood and playfulness is 
also an attractive thematic 
thread 
present 
in 
all 
his 
movies. There’s a juxtaposition 
between the deadpan delivery 
and the themes at play.
Jack: Going back to the idea 
of style and form, Anderson’s 
work is very much about 
control, in the way that he 
dictates the symmetry and 
curates the color of each film. 
Do you find it restricting in 
any way?
Sydney: It interacts with 
theatre, in how you would 
construct a scene on a stage. 
I feel that way when I watch 
Wes 
Anderson 
movies, 
in 
that each scene is an overt 
performance, like all the set 
pieces are specifically placed 
in a stage.
Danny: He has so many 
fully visualized worlds, and 
I feel controlled by him, but 
he is responsibly showing me 
everything he wants me to see. 
It’s like going to a really high 
quality restaurant and having 
a chef who knows exactly 

what you want to eat out of a 
five course meal and presents 
it to you in exactly the order 
you want to have it. There’s 
other food, sure, but you don’t 
want it in that moment. You 
just want to eat what the chef 
gives you. It’s a little limiting, 
because there is such a tight 
control he places on actors, the 
performance and the camera 
movement, but when it’s so 
delightful to watch it, I don’t 
really mind losing that control.
Jack: When is he at his best, 
then?
Becky: 
“The 
Royal 
Tenenbaums.” I think what 
Danny 
was 
saying 
about 
world-building makes a lot 
of sense, like in “Fantastic 
Mr. Fox,” you have all these 
heist themes, and I think in 
“The Royal Tenenbaums,” all 
the characters have so much 
substance and they’re so well 
developed that you feel for 

every single one. It’s silly and 
quirky, but it still has emotion 
to it. I think in some of his films, 
the aesthetics are distracting, 
like 
“The 
Grand 
Budapest 
Hotel” was a little too much 
Wes Anderson for me. We get 
it, there’s a pink hotel and 
there’s a bellboy, and there’s 
whimsy and nostalgia, and 
all these other things you’ve 
never seen before but you feel 
like you have. But I think “The 
Royal Tenenbaums” does a 
good job of making it more 
than the aesthetics and giving 
the characters more.
Max: Talking about “The 
Royal 
Tenenbaums,” 
I’ve 
been thinking about the scene 
where he tries to kill himself, 
and Elliott Smith is playing, 
and asking where does that fit 
in Anderson’s modus operandi?
Stephen: I think a lot of 
people don’t give him enough 
credit 
for 
doing 
daring 
things with his characters. 
People get distracted by his 
aesthetic, and oftentimes the 
stories themselves are pretty 
compelling. I love that scene 
because as far as color palettes, 
a lot of the film is oranges and 
yellows and greens, and that’s 
just a blue scene, except for the 
red of the blood.
Danny: It reminds me of the 
pirate attack scene in “The Life 
Aquatic.” When I first saw it, 
(it) was super jarring, but the 
more and more I watch it, I 
appreciate it. Right before Bill 
Murray becomes an action star, 
all the crewmates are praying 
to themselves, up against the 
wall, at gunpoint. On first 
viewing, it’s a little strange, 
but the more I watch it, it’s so 
harrowing. It’s this moment of 
emotional realism in a movie 
that is formerly anything but. 
It’s visually a very strong 
blue, but after that scene, the 
color palette becomes a lot 
more natural. I tie those two 
together because Anderson is 
known for having emotionally 
distant characters, but there 
are those really important 
moments of emotional realism 
that I always feel like pays off.
Stephen: There’s also the 
end of “Moonrise Kingdom,” 
when they’re on the top of 
the church, and it’s black and 
white with a blue filter thrown 
over it.
Danny: It’s a really strong 
blue, it’s like experimental 
film blue.
Jack: Back to this idea of 
form, “Isle of Dogs” is stop-
motion, and it’s not Anderson’s 
first venture into the form. 
It’s an interesting medium for 
someone who is as exact and 
precise as he is.
Sydney: For “Fantastic Mr. 
Fox,” I love an adult movie in 
a kid’s format. I think it’s so 

impressive and fascinating and 
consuming when you watch 
these little characters perform 
a heist. I think “Isle of Dogs” 
will do the same, especially 
with the cultural specificity 
of Japan, and I’m interested to 
see how it does it.
Danny: It’s interesting to 
see it as a method of control, 
because he starts using it 
in “The Life Aquatic,” and 
then again (in) “The Grand 
Budapest 
Hotel” 
in 
small 
amounts. Obviously in a movie 
about aquatic life, when the 
animals are hard to control and 
he creates so many of them, it’s 
useful that he uses it to create 
this world. I can’t imagine 
CGI in an Anderson film. Stop 
motion fits the niche of not 
quite real, but if you don’t look 
closely, it will seem real.
Sydney: The tactility of 
the figures matches up with 
Anderson’s aesthetic. 
Becky: I think there’s this 
analogue thing about it, too. 
Anderson loves being back in 
time, the super nostalgic and 
the retro. The first animations 
were stop motion. 
Sydney: 
Animation 
is 
such an interesting medium. 
I saw “Kubo and the Two 
Strings” a couple of years ago. 
It looked like origami, but it 
was animation, and I think 
Anderson 
does 
something 
similar with the physicality of 
his figures. He takes pieces of 
his film and makes them part 
of the animation, which is 
impressive.
Danny: I think for practical 
considerations as well, there’s 
no way that “Fantastic Mr. 
Fox” would have been live 
action, and the same goes for 
“Isle of Dogs.” I could not 
see that existing. I feel that 
any other form of animation 
wouldn’t fit his style.
Jack: But I feel that the 
narratives in those films are 
fables, and these characters 
are very human, and you could 
just as easily take them back 
from the animal world that 
Anderson put them in.
Max: 
That’s 
one 
thing 
I’m interested to see in “Isle 
of Dogs.” We talked about 
Anderson’s interest in the old 
fashioned, but “Isle of Dogs” is 
set in some dystopian future, 
and I’m curious about what he 
does with that. I think that’s 
something we haven’t seen 
from him.
Jack: Similar to that, a lot 
of Wes Anderson’s films deal 
with childhood on the small 
scale, but “Isle of Dogs” looks 
at it from a wider lens, in terms 
of state control and other 
people.
Sydney: I’m excited to see 
him tackle larger things, like 
institutions and government 
bodies, but he’ll likely stay in 
his wheelhouse and talk about 
childhood and relationships. 
Based on the trailer, with 
the boy and his dog, which is 
a very sentimental pairing, 
it will probably be close to 
home. However, the cast list 
is enormous and full of talent. 
Anderson has a big pull on 
people he works with. I’m 
obsessed with the voice talent.
Jack: As a final question, 
what 
are 
Anderson’s 
contributions to film?
Becky: I think he’s a great 
example of textbook auteur 
theory, like you watch the 
opening credits of the film, you 
know it’s a Wes Anderson film. 
He has such a definitive touch 
to his films that harkens back 
to another time of filmmaking 
and directing. If we could see 
inside Wes Anderson’s brain, it 
would be pastel and pretty.
Stephen: I don’t know if 
he’s pioneering a genre or 
anything, but I do think he will 
be one of the most influential 
filmmakers.
Jack: Do you think Anderson 
is innovative?
Max: I do, but not in the 
way we might expect. When 
we 
think 
innovation, 
we 
talk about something new in 
technique, but he has created 
new things with very old 
tropes and aesthetics. With 
everything needing to have 
a reboot nowadays, I think 
that Anderson brings things 
from the past without being 
derivative. He has existed 
entirely outside of that, and 
resists the need for film to be 
sleek or current, and I think 
that choice is innovative. In the 
next 15 or 20 years, it will be 
interesting to see the films of 
the children he has influenced.

All of his movies 
borrow from 
concepts and 
tropes that we’re 
very familiar 
with 

He has such a 
definitive touch 
to his films that 
harkens back to 
another time of 
filmmaking and 
directing

Daily Arts Writers discuss the ‘Isle of Dogs’ director’s influence

6 — Tuesday, April 10, 2018
Arts
The Michigan Daily — michigandaily.com

