Questionable use of Japan and Japanese people in Isle of Dogs has made me pretty wary
From what I've read it absolutely paints Anderson as being totally oblivious as to why a white American dude making specifically this movie that handles it's Japanese characters and the speaking of Japanese as it does might be a problem
It definitely comes off as Anderson mostly being interested in Japanese aesthetics and trappings
It certainly doesn't engage deeply with Japanese culture
Which is a pretty big problem just on its own!
Was it this thread where I described Wes Anderson being the Cinematic Equivalent of Gentrification?
Yeah
I don't think there's an actual noun in this particular dimension more white than Wes Anderson or his movies.
Questionable use of Japan and Japanese people in Isle of Dogs has made me pretty wary
From what I've read it absolutely paints Anderson as being totally oblivious as to why a white American dude making specifically this movie that handles it's Japanese characters and the speaking of Japanese as it does might be a problem
It definitely comes off as Anderson mostly being interested in Japanese aesthetics and trappings
It certainly doesn't engage deeply with Japanese culture
Which is a pretty big problem just on its own!
Was it this thread where I described Wes Anderson being the Cinematic Equivalent of Gentrification?
Yeah
I don't think there's an actual noun in this particular dimension more white than Wes Anderson or his movies.
I completely agree while still really loving about ... oh, 30% of his output.
Mainly in that his work, and his characters, are very much like an artistic representation of a group of affluent people suddenly finding out that this very poor neighborhood's is 'exotic' and fascinating and quickly moves itself in, obliviously fucking over everything that was there before.
This loops back to the whole 'hipster' thing.
Which, no matter how unquantifiable the word 'hipster' is, all hangs together as A Thing.
His movies are just so excited about this new bodega they found, but really wouldn't be caught dead talking to somebody who looks like the owner outside of that context.
His movies want you to know that they go to djembe classes.
His movies love quinoa and fear chemtrails, they've got massive record collections and love Iron & Wine, and have brand new iphones with bespoke bamboo cases.
His movies can't be racist because they've got a brown friend.
I always preferred the far greater animated cat musical film, Cats Don't Dance.
This movie is actually about how racist Hollywood was back in the Shirley Temple era. Not that it really goes any farther than the obvious moral that discrimination is bad, but still. It's good stuff.
As soon as “twee” enters a conversation about art, I think maybe I need to back away a little. It’s like the word pretentious in that way. It’s a hard thing to argue.
I definitely get how people see that in Anderson, but I don’t, and I don’t think what I see in his work is something that can be convincingly argued to someone just finds him annoying. Everyone’s twee-meter is different I guess.
He’s maybe the ultimate agree-to-disagree director.
like, I thought that a lot of Colossal might have been considered twee. But I'm almost certainly wrong about that (and even by my own wrong views, I didn't think that it ended up being at all twee)
like, I thought that a lot of Colossal might have been considered twee. But I'm almost certainly wrong about that (and even by my own wrong views, I didn't think that it ended up being at all twee)
I didn't get any sense of Twee from Colossal.
And any that might have been there was destroyed by Jason Sudeikis's character.
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Johnny ChopsockyScootaloo! We have to cook!Grillin' HaysenburgersRegistered Userregular
like, I thought that a lot of Colossal might have been considered twee. But I'm almost certainly wrong about that (and even by my own wrong views, I didn't think that it ended up being at all twee)
I didn't get any sense of Twee from Colossal.
And any that might have been there was destroyed by Jason Sudeikis's character.
exactly,
i had thought that maybe anne hathaway's antics at the beginning might have been twee
but yeah, i think i'm pretty definitively wrong about that take
twee to me has very specific aesthetic connotations, as well as narrative beats and characterisation or themes.
Wes Anderson's whole aesthetic definitely leans twee, though the degree varies. Moonrise Kingdom, for example, is twee to me in a way that The Darjeeling Limited isn't (so much). His love of symmetry and his colour schemes help that along. Additionally, overly precocious children are almost inherently twee. So he scores very high on my personal twee-o-meter, which normally would put me off. What saves his films, for me, is the frequent dark humour.
but i don't necessarily find tweeness to be necessarily all that bad, so i have a hard time identifying it
i guess it's a useful shorthand for a type of insincerity?
Ah! I think this is it!
Cute in a way that’s emotionally insincere.
Which is also why I disagree with it’s use with Anderson.
hmm. That's interesting, I've never associated it with insincerity so much as an almost wilful blindness to non-cutesiness. I think one can be sincere in one's tweeness, but it might necessarily involve some degree of cognitive dissonance. Anderson to me is often deliberately playing off the contrast between the tweeness of his characters and grim reality (cf GBH), which is what makes his movies interesting.
To take another example, Pushing Daisies is pretty twee, for example, but I'd never accuse brian fuller of being inherently cutesy in general, or insincere.
It is similar to saccharine for me, just overpoweringly cutesy or obsessed with being dainty and quirky
Moonrise Kingdom didn't work for me because it was almost nothing but pure Anderson twee-ness with not much substance behind it. It was like eating a bowl full of sugar.
Grand Budapest worked for me because it had a dark emotional core that had a genuine weight behind it and elevated it above the cutesy atmosphere and set dressing. It was like a nice, complex dessert that had a tasteful garnish of powdered sugar.
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Librarian's ghostLibrarian, Ghostbuster, and TimSporkRegistered Userregular
So I just looked up Wes Anderson’s filmography and now realize I have literally never seen even one Wes Anderson film.
He's a hard one to recommend to people because even if you broadly like his films, nobody likes the same ones. I don't think I've ever met anybody who genuinely liked every single movie, but I've also never met anyone who agreed with me on what the 'watchable' Anderson's are.
If you wanted to try him out I'd recommend Grand Budapest Hotel, and then if you didn't like that I probably wouldn't bother with any others. But hell maybe there are people out there who hate GBH but fucking love Rushmore.
So I just looked up Wes Anderson’s filmography and now realize I have literally never seen even one Wes Anderson film.
He's a hard one to recommend to people because even if you broadly like his films, nobody likes the same ones. I don't think I've ever met anybody who genuinely liked every single movie, but I've also never met anyone who agreed with me on what the 'watchable' Anderson's are.
If you wanted to try him out I'd recommend Grand Budapest Hotel, and then if you didn't like that I probably wouldn't bother with any others. But hell maybe there are people out there who hate GBH but fucking love Rushmore.
Are there other directors where people love everything they have produced?
Posts
I guess you can say the arthouse vibe.
That is significantly less precise.
He’s definitely an arthouse director that house found surprising success and wide appeal. But even within the indie world, he’s pretty distinct.
Umm...you just said what I said.
You seemed to be make some kind of aesthetic judgement that I’m not, but I could be wrong!
I said he makes arthouse films that have critical and somewhat mainstream success and that has helped him make a name for himself.
I believe it's a type of sandwich.
Battle.net: IronSquirrel#1462
Was it this thread where I described Wes Anderson being the Cinematic Equivalent of Gentrification?
Yeah
I don't think there's an actual noun in this particular dimension more white than Wes Anderson or his movies.
Smilf esuohtra just sounds sexier.
I completely agree while still really loving about ... oh, 30% of his output.
Mainly in that his work, and his characters, are very much like an artistic representation of a group of affluent people suddenly finding out that this very poor neighborhood's is 'exotic' and fascinating and quickly moves itself in, obliviously fucking over everything that was there before.
This loops back to the whole 'hipster' thing.
Which, no matter how unquantifiable the word 'hipster' is, all hangs together as A Thing.
His movies are just so excited about this new bodega they found, but really wouldn't be caught dead talking to somebody who looks like the owner outside of that context.
His movies want you to know that they go to djembe classes.
His movies love quinoa and fear chemtrails, they've got massive record collections and love Iron & Wine, and have brand new iphones with bespoke bamboo cases.
His movies can't be racist because they've got a brown friend.
was actually something I'd originally addressed
well, that, and that the industry itself is white af
It's more just the overall vibe of his work and his persona
Like, there's a kind of white guy who can hang, and he fuckin ain't it.
But it's mostly that his shit is so twee, I expect every actual phoneme of his characters' dialogue to actually just be the sound 'tweeeeeeee'.
I'm so excited
Steam
This movie is actually about how racist Hollywood was back in the Shirley Temple era. Not that it really goes any farther than the obvious moral that discrimination is bad, but still. It's good stuff.
Like not that I have anything against wes anderson stop motion, I just, I dunno, for some reason thought it was like an actual animals movie.
I'm sad over not getting to see puppies that never existed in the first place?
Poor non existent puppoes
https://www.paypal.me/hobnailtaylor
Steam // Secret Satan
I definitely get how people see that in Anderson, but I don’t, and I don’t think what I see in his work is something that can be convincingly argued to someone just finds him annoying. Everyone’s twee-meter is different I guess.
He’s maybe the ultimate agree-to-disagree director.
like, I thought that a lot of Colossal might have been considered twee. But I'm almost certainly wrong about that (and even by my own wrong views, I didn't think that it ended up being at all twee)
Steam // Secret Satan
i guess it's a useful shorthand for a type of insincerity?
Steam // Secret Satan
I didn't get any sense of Twee from Colossal.
And any that might have been there was destroyed by Jason Sudeikis's character.
It means "it's not my kind of thing". People just use it to appear like it's an actual critique when it's really just a personal and subjective thing.
Steam ID XBL: JohnnyChopsocky PSN:Stud_Beefpile WiiU:JohnnyChopsocky
It's subjective, sure, but it isn't just a NAH DIDN'T LIKE IT
exactly,
i had thought that maybe anne hathaway's antics at the beginning might have been twee
but yeah, i think i'm pretty definitively wrong about that take
Steam // Secret Satan
Wes Anderson's whole aesthetic definitely leans twee, though the degree varies. Moonrise Kingdom, for example, is twee to me in a way that The Darjeeling Limited isn't (so much). His love of symmetry and his colour schemes help that along. Additionally, overly precocious children are almost inherently twee. So he scores very high on my personal twee-o-meter, which normally would put me off. What saves his films, for me, is the frequent dark humour.
Won, twwooo, twee, twour, twive...
Ah! I think this is it!
Cute in a way that’s emotionally insincere.
Which is also why I disagree with it’s use with Anderson.
hmm. That's interesting, I've never associated it with insincerity so much as an almost wilful blindness to non-cutesiness. I think one can be sincere in one's tweeness, but it might necessarily involve some degree of cognitive dissonance. Anderson to me is often deliberately playing off the contrast between the tweeness of his characters and grim reality (cf GBH), which is what makes his movies interesting.
To take another example, Pushing Daisies is pretty twee, for example, but I'd never accuse brian fuller of being inherently cutesy in general, or insincere.
It doesn't automatically make a movie worse for having it.
And loads of other media are allowed to be incredibly cute, film shouldn't be different.
Moonrise Kingdom didn't work for me because it was almost nothing but pure Anderson twee-ness with not much substance behind it. It was like eating a bowl full of sugar.
Grand Budapest worked for me because it had a dark emotional core that had a genuine weight behind it and elevated it above the cutesy atmosphere and set dressing. It was like a nice, complex dessert that had a tasteful garnish of powdered sugar.
I’ve seen two. The Royal Tenenbaums and Life Aquatic.
He's a hard one to recommend to people because even if you broadly like his films, nobody likes the same ones. I don't think I've ever met anybody who genuinely liked every single movie, but I've also never met anyone who agreed with me on what the 'watchable' Anderson's are.
If you wanted to try him out I'd recommend Grand Budapest Hotel, and then if you didn't like that I probably wouldn't bother with any others. But hell maybe there are people out there who hate GBH but fucking love Rushmore.
Are there other directors where people love everything they have produced?
I think that could be relatively uncommon?