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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
4 1210 Cambridge $2900
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
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