MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
#53
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Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
^That poster couldn't scream "Wes Anderson" more if it tried!
I'm so excited for this!
I'm so excited for this!
#54
DVD Talk Limited Edition
Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
soundtrack info
http://pitchfork.com/news/46377-wes-...-of-the-score/
clip posted sounds really good
http://pitchfork.com/news/46377-wes-...-of-the-score/
clip posted sounds really good
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Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
I seem to recall reading that this will open in a limited # of theaters. Here's hoping there will be a couple of different locations in and around Houston to see it.
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Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
You know what..I've never seen a Wes Anderson film in a theater. I hope to fix that w/ this film.
Last edited by Solid Snake; 05-14-12 at 01:39 PM.
#58
Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
I wonder how much input Ed Norton had on the script. In any case I'm in. Been seeing Anderson's movies in theaters since Royal Tenenbaums...missed Fantastic Mr. Fox though.
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Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
Early reactions from Cannes are very positive.
Also, I can't freaking wait to see this movie.
Also, I can't freaking wait to see this movie.
#60
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Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
<object style="height: 390px; width: 640px"><param name="movie" value="http://www.youtube.com/v/0Nx7kbjqbJY?version=3&feature=player_embedded"><param name="allowFullScreen" value="true"><param name="allowScriptAccess" value="always"><embed src="http://www.youtube.com/v/0Nx7kbjqbJY?version=3&feature=player_embedded" type="application/x-shockwave-flash" allowfullscreen="true" allowScriptAccess="always" width="640" height="360"></object>
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Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
why would Norton have ANY input on the script, especially a Wes Anderson flick? Is he making a snap at The Incredible Hulk?
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Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
<iframe width="560" height="315" src="http://www.youtube.com/embed/m-8OOvf1NPY" frameborder="0" allowfullscreen></iframe>
#65
DVD Talk Hall of Fame
Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
I don't get the rabid fan base of Wes Anderson. I liked Rushmore and Bottle Rocket, fine films, but was bored to tears by The Life Aquatic with Steve Zissou and The Darjeeling Limited.
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Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
Maybe too...quirky for you? I dunno. Life Aquatic was the first WA film I saw. Loved it. Been a fan of all his films since.
#67
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Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
Because he has a memorable style and quirky sensibility, I think The Royal Tenenbaums and Fantastic Mr. Fox are fantastic films. Rushmore and Bottle Rocket were alright, agreed on the other two.
#68
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Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
I found Life Aquatic to be about 5% too quirky, to the point that the quirkiness escaped from the story and distracted. I still enjoyed it though. For me, The Royal Tenenbaums had perfect balance and has been my favorite so far.
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Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
<iframe src="http://media.mtvnservices.com/mgid:uma:video:mtv.com:771301/cp~vid%3D771301%26uri%3Dmgid%3Auma%3Avideo%3Amtv.com%3A771301" width="512" height="288" frameborder="0"></iframe>
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#70
Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
As for The Life Aquatic with Steve Zissou and The Darjeeling Limited I also did not like those.
I have not yet seen The Fantastic Mr. Fox but plan on doing so.
#71
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Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
http://www.npr.org/2012/05/24/153585...is-soundtracks
May 24, 2012
If you see the new Wes Anderson movie Moonrise Kingdom, you'll hear background music from composers Benjamin Britten and Alexandre Desplat, as well as several songs from Hank Williams.
How those songs ended up in the movie is partly the work of music supervisor Randall Poster, who works with Anderson to help find and license music that helps add nuance and emotional depth to each scene.
Poster is one of the best-known music supervisors in the movie industry. His credits include indie films like The Darjeeling Limited and Rushmore and blockbusters like The Aviator, Meet the Parents and The Nanny Diaries. For The Royal Tenenbaums, Poster tracked down "These Days" by Nico and "Needle in the Hay" by Elliott Smith. For The Life Aquatic With Steve Zissou, it was Poster who helped Anderson pick out the David Bowie covers by Brazilian musician Seu Jorge.
Creating a musical identity for films means working closely with directors to understand the nuances of each scene, Poster tells Fresh Air's Terry Gross.
"I just stand by [Anderson] and help him put mortar on the bricks and come at him with musical ideas and listen to what he has to say and read the scripts as they evolve, and we sort of take it from there and keep going," Poster says. "I don't know that we've ever stopped working since we started [shortly after Bottle Rocket]. We're just trying to make music and trying to bring great music to it and make this our life together. That's how we go."
Anderson and Poster met in Los Angeles through a mutual friend. While walking around a farmer's market, Anderson told Poster about a piece of music that he wanted to use for Bottle Rocket but couldn't because of a rights issue.
"I was so smitten with the film that I basically promised to get any piece of music that he ever wanted to use in a movie," Poster says. "And that kicked us off."
Part of Poster's job is to acquire licensing rights for songs used in the movies he works on. That's a difficult task, he says.
"You have to deal with the creators, the publishers on each song," he says. "Sometimes you're dealing with bands where the guys in the band haven't talked to each other, or there's history and animosity, or there's a member of the band who doesn't want the music used. Humanity enters into each situation, so it can get complicated and messy, but we do pretty well."
Interview Highlights
On how Poster files music
"It's a bit of a mess. I have to say I try my best to put things in terms of era or genre. But it's a bit overwhelming. So I would say if anyone has any kind of great idea for filing or categorizing, this is an SOS. But the work I do on Boardwalk Empire, I try to collect as much as I can by period or by group or artist — or actually, year by year is critical in that scenario."
On the song he's happiest about introducing to a mass audience
"I would say Cat Stevens' "Here Comes My Baby" in Rushmore is a song that I'm really happy that we were able to bring to a film audience. Up to that point, Cat Stevens had stopped licensing his music, and we had "Here Comes My Baby" and "The Wind" in Rushmore, and I was really pleased we were able to make that work out and make him comfortable. That was the first time he allowed his music to be used in a film in many years. ... I think it's one of those iconic Wes Anderson cinematic moments that I think will thrill people forever."
May 24, 2012
If you see the new Wes Anderson movie Moonrise Kingdom, you'll hear background music from composers Benjamin Britten and Alexandre Desplat, as well as several songs from Hank Williams.
How those songs ended up in the movie is partly the work of music supervisor Randall Poster, who works with Anderson to help find and license music that helps add nuance and emotional depth to each scene.
Poster is one of the best-known music supervisors in the movie industry. His credits include indie films like The Darjeeling Limited and Rushmore and blockbusters like The Aviator, Meet the Parents and The Nanny Diaries. For The Royal Tenenbaums, Poster tracked down "These Days" by Nico and "Needle in the Hay" by Elliott Smith. For The Life Aquatic With Steve Zissou, it was Poster who helped Anderson pick out the David Bowie covers by Brazilian musician Seu Jorge.
Creating a musical identity for films means working closely with directors to understand the nuances of each scene, Poster tells Fresh Air's Terry Gross.
"I just stand by [Anderson] and help him put mortar on the bricks and come at him with musical ideas and listen to what he has to say and read the scripts as they evolve, and we sort of take it from there and keep going," Poster says. "I don't know that we've ever stopped working since we started [shortly after Bottle Rocket]. We're just trying to make music and trying to bring great music to it and make this our life together. That's how we go."
Anderson and Poster met in Los Angeles through a mutual friend. While walking around a farmer's market, Anderson told Poster about a piece of music that he wanted to use for Bottle Rocket but couldn't because of a rights issue.
"I was so smitten with the film that I basically promised to get any piece of music that he ever wanted to use in a movie," Poster says. "And that kicked us off."
Part of Poster's job is to acquire licensing rights for songs used in the movies he works on. That's a difficult task, he says.
"You have to deal with the creators, the publishers on each song," he says. "Sometimes you're dealing with bands where the guys in the band haven't talked to each other, or there's history and animosity, or there's a member of the band who doesn't want the music used. Humanity enters into each situation, so it can get complicated and messy, but we do pretty well."
Interview Highlights
On how Poster files music
"It's a bit of a mess. I have to say I try my best to put things in terms of era or genre. But it's a bit overwhelming. So I would say if anyone has any kind of great idea for filing or categorizing, this is an SOS. But the work I do on Boardwalk Empire, I try to collect as much as I can by period or by group or artist — or actually, year by year is critical in that scenario."
On the song he's happiest about introducing to a mass audience
"I would say Cat Stevens' "Here Comes My Baby" in Rushmore is a song that I'm really happy that we were able to bring to a film audience. Up to that point, Cat Stevens had stopped licensing his music, and we had "Here Comes My Baby" and "The Wind" in Rushmore, and I was really pleased we were able to make that work out and make him comfortable. That was the first time he allowed his music to be used in a film in many years. ... I think it's one of those iconic Wes Anderson cinematic moments that I think will thrill people forever."
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#74
Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
I'm commenting on the fact that he's well known for making changes to the scripts for many of the movies he's been in, with the hope that he has no input on this one.
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Re: MOONRISE KINGDOM (May 2012) (dir. Wes Anderson)
i was all psyched to see this tomorrow only to find out it is only opening in LA/NY. I have to wait until the end of June for showtimes near me (Cleveland, ohio)