Shane Danielsen is a screenwriter and former artistic director of the Edinburgh International Film Festival.
Picture the scene: one morning Wes Anderson wakes up. Silk pyjamas, monogrammed pillowcases. He has an idea – or perhaps not even that; a fancy. He sits at his desk (I’m thinking something Bauhaus, a Marcel Breuer or a Herbert Hirche) and writes a treatment – in longhand, natch, on exquisite stationery – and mails it off… and before long, millions of dollars are duly made available. Sets are constructed, costumes designed and sewn. Famous men and women call, declaring their eagerness to participate.
Its success is not guaranteed: the movie might work or it might not. Likewise its commercial fate – sometimes, for who knows what reason, audiences just don’t bite. Nevertheless, and whatever the outcome, the end result will be solely and unmistakably his: A Wes Anderson Film.
His latest, The French Dispatch (soon in cinemas and streaming on...
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