2 hr 38 min
Auteur Corner: Wes Anderson and Quentin Tarantino The Formative Films Project
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- Film Interviews
As we’ve discussed throughout this series, filmmaking is a collaborative medium. We all tend to look toward the director as the captain of the ship and a key reason why a movie succeeds or fails, but it is a “team sport” at the end of day.
Having said that, fully realizing your vision as a writer/director is admirable and, ultimately, should be a main goal when making any film. There’s something to be said for having a distinct visual storytelling style that’s recognizable from film to film — as much a trademark of a director’s legacy and talent as it is a formalistic choice to best tell the story.
For our final three episodes, we’ll look at a group of writer/directors — better known as auteurs — that have reached this creative peak over the course of their respective careers.
To start, we’ll look at two favorites of Film Bros and #FilmTwitter alike: Wes Anderson and Quentin Tarantino. Both lean into their influences proudly — Éric Rohmer, Jacques Tati, and Michael Mann films for Anderson, and everything from Kung Fu to French New Wave to Blaxploitation for Tarantino — yet both have paved their own way to distinctive directorial signatures of their own. From the 90s Sundance boom, to the grand stages at Cannes and the Oscars, these two filmmakers have captivated audiences for nearly 30 years and are still two of the best working today.
3:07 - 23:52: Fantastic Mr. Fox (Sophia Belshe)
23:53 - 50:09: Moonrise Kingdom (Ryan Njenga)
50:10 - 1:14:15: The Grand Budapest Hotel (Noah Mercer)
1:14:37 - 1:43:09: Reservoir Dogs (Sam Kingma)
1:43:10 - 2:08:14: Pulp Fiction (Jack Dodd)
2:08:15 - 2:36:15: Once Upon a Time...In Hollywood (Mitch Osterlund)
As we’ve discussed throughout this series, filmmaking is a collaborative medium. We all tend to look toward the director as the captain of the ship and a key reason why a movie succeeds or fails, but it is a “team sport” at the end of day.
Having said that, fully realizing your vision as a writer/director is admirable and, ultimately, should be a main goal when making any film. There’s something to be said for having a distinct visual storytelling style that’s recognizable from film to film — as much a trademark of a director’s legacy and talent as it is a formalistic choice to best tell the story.
For our final three episodes, we’ll look at a group of writer/directors — better known as auteurs — that have reached this creative peak over the course of their respective careers.
To start, we’ll look at two favorites of Film Bros and #FilmTwitter alike: Wes Anderson and Quentin Tarantino. Both lean into their influences proudly — Éric Rohmer, Jacques Tati, and Michael Mann films for Anderson, and everything from Kung Fu to French New Wave to Blaxploitation for Tarantino — yet both have paved their own way to distinctive directorial signatures of their own. From the 90s Sundance boom, to the grand stages at Cannes and the Oscars, these two filmmakers have captivated audiences for nearly 30 years and are still two of the best working today.
3:07 - 23:52: Fantastic Mr. Fox (Sophia Belshe)
23:53 - 50:09: Moonrise Kingdom (Ryan Njenga)
50:10 - 1:14:15: The Grand Budapest Hotel (Noah Mercer)
1:14:37 - 1:43:09: Reservoir Dogs (Sam Kingma)
1:43:10 - 2:08:14: Pulp Fiction (Jack Dodd)
2:08:15 - 2:36:15: Once Upon a Time...In Hollywood (Mitch Osterlund)
2 hr 38 min