Wes Anderson Likes the Color Red (and Yellow)

Red seems to be a mag­net for angry bulls and great direc­tors. After all, it’s the col­or that seems to stand out more than any oth­er. Yasu­jiro Ozu, for one, made the jump to col­or movies very reluc­tant­ly late in his career and prompt­ly became obsessed with the col­or red. His pro­duc­tion team kept a box on set of small red house­hold things – a match­box, an umbrel­la, a teaket­tle — which he used to place in the back­ground of just about every shot. Jean-Luc Godard famous­ly bathed Brigitte Bardot’s back­side in red light for his first col­or film Con­tempt. When crit­ics com­plained that his fea­ture, Pier­rot le Fou, was too bloody, he quipped, “It’s not blood, it’s red.” And from HAL 9000’s unfor­giv­ing elec­tron­ic eye in 2001 to the buck­ets of blood pour­ing out of the ele­va­tor from hell in The Shin­ing, Stan­ley Kubrick built some of his most mem­o­rable scenes around the col­or red.

Edi­tor and design­er Rishi Kane­r­ia, who seems to be mak­ing a career out of point­ing out the col­or choic­es of auteurs, has just released a video called “Red & Yel­low: A Wes Ander­son Super­cut” that square­ly places Wes Ander­son among the ranks of cinema’s great crim­son-lov­ing styl­ists – from Ben Stiller’s sweats in The Roy­al Tenen­baums to the lux­u­ri­ous car­pets of his lat­est effort The Grand Budapest Hotel. As you might gath­er from the title of Kaneria’s short, Ander­son is also a fan of the col­or yel­low too. You can watch the video above. And you can watch Kaneria’s look into Kubrick’s use of red below.

Relat­ed Con­tent:

What’s the Big Deal About Wes Anderson’s The Grand Budapest Hotel? Matt Zoller Seitz’s Video Essay Explains

The Per­fect Sym­me­try of Wes Anderson’s Movies

A Glimpse Into How Wes Ander­son Cre­ative­ly Remixes/Recycles Scenes in His Dif­fer­ent Films

Watch Wes Anderson’s Charm­ing New Short Film, Castel­lo Cav­al­can­ti, Star­ring Jason Schwartz­man

Wes Anderson’s First Short Film: The Black-and-White, Jazz-Scored Bot­tle Rock­et (1992)

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of bad­gers and even more pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

Glorious Early 20th-Century Japanese Ads for Beer, Smokes & Sake (1902–1954)

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Ear­li­er this month, we fea­tured adver­tise­ments from Japan’s pre­war Art Deco gold­en age, a peri­od that shows off one facet of the coun­try’s rich graph­ic his­to­ry. While all forms of Japan­ese design remain com­pelling today, any time or place would be hard pressed to com­pete with the world of Japan’s pre-war print adver­tis­ing. It has, espe­cial­ly for the mod­ern West­ern­er, not just a visu­al nov­el­ty but a com­mer­cial nov­el­ty as well: as often as not, sur­viv­ing exam­ples glo­ri­fy now-restrict­ed addic­tive sub­stances like alco­hol and tobac­co.

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At Pink Ten­ta­cle (a com­plete­ly safe-for-work page, believe it or not), you can find a roundup of Japan­ese print adver­tise­ments for prod­ucts that tap into just such vices. Japan opened up to the world in a big way in the mid-to-late 19th cen­tu­ry, and the coun­try’s accep­tance (and sub­se­quent Japan­i­fi­ca­tion) of all things for­eign kept chug­ging along right up until the Sec­ond World War. At the top, we have an appeal­ing exam­ple of this inter­na­tion­al­ism at work in the ser­vice of Saku­ra Beer in the late 1920s. The 1902 ad just above depicts not just the globe but a smok­ing Pega­sus astride it in the name of Pea­cock cig­a­rettes.

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When the tone of Japan­ese life got mil­i­taris­tic in the 1930s, so did the tone of Japan­ese ads. The 1937 poster just above pro­claims “Defense for Coun­try, Tobac­co for Soci­ety,” a mes­sage brought to you by the South Kyoto Tobac­co Sell­ers’ Union. Below, the kind of Japan­ese maid­en pre­war graph­ic design always ren­dered so well appears in a dif­fer­ent, more out­ward­ly patri­ot­ic, and much more naval form.

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It goes with­out say­ing that most of these ads’ design­ers geared them toward the eyes of the Japan­ese — most, but not all. After the war, dur­ing the Unit­ed States’ occu­pa­tion of the coun­try, there appeared print announce­ments in this same styl­is­tic vein urg­ing GIs and oth­er Amer­i­can mil­i­tary per­son­nel to keep on their best com­mer­cial behav­ior. Take, for instance, these words the straight­for­ward­ly named Japan Monop­oly Cor­po­ra­tion placed beside this arche­typ­i­cal­ly court­ly but unchar­ac­ter­is­ti­cal­ly stern tra­di­tion­al lady in 1954:

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A valiant effort, but from the sto­ries I’ve heard of the occu­pa­tion, no amount of graph­ic design could’ve shut down that par­tic­u­lar black mar­ket. And final­ly, no look back at vin­tage Japan­ese ads would be com­plete with­out includ­ing one adver­tise­ment for sake. The ad below is for Zuigan sake, cre­at­ed in 1934.

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Relat­ed Con­tent:

Adver­tise­ments from Japan’s Gold­en Age of Art Deco

Hand-Col­ored Pho­tographs of 19th Cen­tu­ry Japan

Two Short Films on Cof­fee and Cig­a­rettes from Jim Jar­musch & Paul Thomas Ander­son

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture as well as the video series The City in Cin­e­ma and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Kids Orchestra Plays Ozzy Osbourne’s “Crazy Train” and Zeppelin’s “Kashmir”

The Louisville Leop­ard Per­cus­sion­ists — they’re a per­form­ing ensem­ble made up of 60 stu­dents, all between the ages of 7 and 14, from schools around the Louisville, Ken­tucky area. Each musi­cian plays sev­er­al instru­ments, such as the marim­bas, xylo­phone, vibra­phone, drum set, tim­bales, con­gas, bon­gos and piano. And they can rock with the best of them. Per­haps you’ve seen a viral video of the young per­cus­sion­ists play­ing Led Zep­pelin’s “Kash­mir,” which Jim­my Page called “too good not to share” on his Face­book page.

If your inner 16-year-old is ask­ing “what about Ozzy?,” well then, we’ve got you cov­ered. Above you can watch The Fab­u­lous Leop­ard Per­cus­sion­ists rehears­ing a ver­sion of Ozzy Osbourne’s “Crazy Train,” the heavy met­al clas­sic from 1980. Found­ed in 1993 by the ele­men­tary school teacher Diane Downs, the ensem­ble has cer­tain­ly explored oth­er musi­cal forms too. Here, you can see them per­form Chick Core­a’s “Spain” and Ben­ny Good­man’s “Sing Sing Sing” at the Inter­na­tion­al Asso­ci­a­tion of Jazz Edu­ca­tors’ con­cert in New York City. And Latin-inspired ver­sions of Low Rider/Oye Como Va. Not a bad way to start your day, I must say.

Fol­low us on Face­book, Twit­ter and Google Plus and share intel­li­gent media with your friends. Or bet­ter yet, sign up for our dai­ly email and get a dai­ly dose of Open Cul­ture in your inbox.

Relat­ed Con­tent:

Ele­men­tary School Kids Sing David Bowie’s “Space Odd­i­ty” & Oth­er Rock Hits: A Cult Clas­sic Record­ed in 1976

Mr. Rogers Intro­duces Kids to Exper­i­men­tal Elec­tron­ic Music by Bruce Haack & Esther Nel­son (1968)

Thomas Dol­by Explains How a Syn­the­siz­er Works on a Jim Hen­son Kids Show (1989)

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Hunter S. Thompson, Existentialist Life Coach, Gives Tips for Finding Meaning in Life

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Image by Steve Ander­son, via Wiki­me­dia Com­mons

At first blush, Hunter S. Thomp­son might be the last per­son you would want to ask for advice. After all, his dai­ly rou­tine involved copi­ous amounts of cocaine, LSD and Chivas Regal. He once raked a neighbor’s house with gun­fire. And he once almost acci­den­tal­ly blew up John­ny Depp. Yet beneath his gonzo per­sona lay a man who thought deeply and often about the mean­ing of it all. He was some­one who spent a life­time star­ing into the abyss.

So in 1958, before he became a counter-cul­ture icon, before he even start­ed writ­ing pro­fes­sion­al­ly, Thomp­son wrote a long let­ter about some of the big ques­tions in life to his friend, Hume Logan, who was in the throes of an exis­ten­tial cri­sis.

While the first cou­ple of para­graphs warns against the dan­gers of seek­ing advice, Hunter then expounds at length on some deep, and sur­pris­ing­ly lev­el-head­ed truths. Below are a few pearls of wis­dom:

  • Whether to float with the tide, or to swim for a goal. It is a choice we must all make con­scious­ly or uncon­scious­ly at one time in our lives. So few peo­ple under­stand this!
  • You might also try some­thing called Being and Noth­ing­ness by Jean-Paul Sartre, and anoth­er lit­tle thing called Exis­ten­tial­ism: From Dos­toyevsky to Sartre. These are mere­ly sug­ges­tions. If you’re gen­uine­ly sat­is­fied with what you are and what you’re doing, then give those books a wide berth. (Let sleep­ing dogs lie.)
  • To put our faith in tan­gi­ble goals would seem to be, at best, unwise. We do not strive to be fire­men, we do not strive to be bankers, nor police­men, nor doc­tors. WE STRIVE TO BE OURSELVES.
  • Let’s assume that you think you have a choice of eight paths to fol­low (all pre-defined paths, of course). And let’s assume that you can’t see any real pur­pose in any of the eight. THEN— and here is the essence of all I’ve said— you MUST FIND A NINTH PATH.
  • Is it worth giv­ing up what I have to look for some­thing bet­ter? I don’t know— is it? Who can make that deci­sion but you? But even by DECIDING TO LOOK, you go a long way toward mak­ing the choice.

The let­ter was pub­lished in the 2013 book, Let­ters of Note. You can read it in its entire­ty below.

April 22, 1958
57 Per­ry Street
New York City

Dear Hume,

You ask advice: ah, what a very human and very dan­ger­ous thing to do! For to give advice to a man who asks what to do with his life implies some­thing very close to ego­ma­nia. To pre­sume to point a man to the right and ulti­mate goal— to point with a trem­bling fin­ger in the RIGHT direc­tion is some­thing only a fool would take upon him­self.

I am not a fool, but I respect your sin­cer­i­ty in ask­ing my advice. I ask you though, in lis­ten­ing to what I say, to remem­ber that all advice can only be a prod­uct of the man who gives it. What is truth to one may be dis­as­ter to anoth­er. I do not see life through your eyes, nor you through mine. If I were to attempt to give you spe­cif­ic advice, it would be too much like the blind lead­ing the blind.

“To be, or not to be: that is the ques­tion: Whether ’tis nobler in the mind to suf­fer the slings and arrows of out­ra­geous for­tune, or to take arms against a sea of trou­bles … ” (Shake­speare)

And indeed, that IS the ques­tion: whether to float with the tide, or to swim for a goal. It is a choice we must all make con­scious­ly or uncon­scious­ly at one time in our lives. So few peo­ple under­stand this! Think of any deci­sion you’ve ever made which had a bear­ing on your future: I may be wrong, but I don’t see how it could have been any­thing but a choice how­ev­er indi­rect— between the two things I’ve men­tioned: the float­ing or the swim­ming.

But why not float if you have no goal? That is anoth­er ques­tion. It is unques­tion­ably bet­ter to enjoy the float­ing than to swim in uncer­tain­ty. So how does a man find a goal? Not a cas­tle in the stars, but a real and tan­gi­ble thing. How can a man be sure he’s not after the “big rock can­dy moun­tain,” the entic­ing sug­ar-can­dy goal that has lit­tle taste and no sub­stance?

The answer— and, in a sense, the tragedy of life— is that we seek to under­stand the goal and not the man. We set up a goal which demands of us cer­tain things: and we do these things. We adjust to the demands of a con­cept which CANNOT be valid. When you were young, let us say that you want­ed to be a fire­man. I feel rea­son­ably safe in say­ing that you no longer want to be a fire­man. Why? Because your per­spec­tive has changed. It’s not the fire­man who has changed, but you. Every man is the sum total of his reac­tions to expe­ri­ence. As your expe­ri­ences dif­fer and mul­ti­ply, you become a dif­fer­ent man, and hence your per­spec­tive changes. This goes on and on. Every reac­tion is a learn­ing process; every sig­nif­i­cant expe­ri­ence alters your per­spec­tive.

So it would seem fool­ish, would it not, to adjust our lives to the demands of a goal we see from a dif­fer­ent angle every day? How could we ever hope to accom­plish any­thing oth­er than gal­lop­ing neu­ro­sis?

The answer, then, must not deal with goals at all, or not with tan­gi­ble goals, any­way. It would take reams of paper to devel­op this sub­ject to ful­fill­ment. God only knows how many books have been writ­ten on “the mean­ing of man” and that sort of thing, and god only knows how many peo­ple have pon­dered the sub­ject. (I use the term “god only knows” pure­ly as an expres­sion.) There’s very lit­tle sense in my try­ing to give it up to you in the prover­bial nut­shell, because I’m the first to admit my absolute lack of qual­i­fi­ca­tions for reduc­ing the mean­ing of life to one or two para­graphs.

I’m going to steer clear of the word “exis­ten­tial­ism,” but you might keep it in mind as a key of sorts. You might also try some­thing called Being and Noth­ing­ness by Jean-Paul Sartre, and anoth­er lit­tle thing called Exis­ten­tial­ism: From Dos­toyevsky to Sartre. These are mere­ly sug­ges­tions. If you’re gen­uine­ly sat­is­fied with what you are and what you’re doing, then give those books a wide berth. (Let sleep­ing dogs lie.) But back to the answer. As I said, to put our faith in tan­gi­ble goals would seem to be, at best, unwise. So we do not strive to be fire­men, we do not strive to be bankers, nor police­men, nor doc­tors. WE STRIVE TO BE OURSELVES.

But don’t mis­un­der­stand me. I don’t mean that we can’t BE fire­men, bankers, or doc­tors— but that we must make the goal con­form to the indi­vid­ual, rather than make the indi­vid­ual con­form to the goal. In every man, hered­i­ty and envi­ron­ment have com­bined to pro­duce a crea­ture of cer­tain abil­i­ties and desires— includ­ing a deeply ingrained need to func­tion in such a way that his life will be MEANINGFUL. A man has to BE some­thing; he has to mat­ter.

As I see it then, the for­mu­la runs some­thing like this: a man must choose a path which will let his ABILITIES func­tion at max­i­mum effi­cien­cy toward the grat­i­fi­ca­tion of his DESIRES. In doing this, he is ful­fill­ing a need (giv­ing him­self iden­ti­ty by func­tion­ing in a set pat­tern toward a set goal), he avoids frus­trat­ing his poten­tial (choos­ing a path which puts no lim­it on his self-devel­op­ment), and he avoids the ter­ror of see­ing his goal wilt or lose its charm as he draws clos­er to it (rather than bend­ing him­self to meet the demands of that which he seeks, he has bent his goal to con­form to his own abil­i­ties and desires).

In short, he has not ded­i­cat­ed his life to reach­ing a pre-defined goal, but he has rather cho­sen a way of life he KNOWS he will enjoy. The goal is absolute­ly sec­ondary: it is the func­tion­ing toward the goal which is impor­tant. And it seems almost ridicu­lous to say that a man MUST func­tion in a pat­tern of his own choos­ing; for to let anoth­er man define your own goals is to give up one of the most mean­ing­ful aspects of life— the defin­i­tive act of will which makes a man an indi­vid­ual.

Let’s assume that you think you have a choice of eight paths to fol­low (all pre-defined paths, of course). And let’s assume that you can’t see any real pur­pose in any of the eight. THEN— and here is the essence of all I’ve said— you MUST FIND A NINTH PATH.

Nat­u­ral­ly, it isn’t as easy as it sounds. You’ve lived a rel­a­tive­ly nar­row life, a ver­ti­cal rather than a hor­i­zon­tal exis­tence. So it isn’t any too dif­fi­cult to under­stand why you seem to feel the way you do. But a man who pro­cras­ti­nates in his CHOOSING will inevitably have his choice made for him by cir­cum­stance.

So if you now num­ber your­self among the dis­en­chant­ed, then you have no choice but to accept things as they are, or to seri­ous­ly seek some­thing else. But beware of look­ing for goals: look for a way of life. Decide how you want to live and then see what you can do to make a liv­ing WITHIN that way of life. But you say, “I don’t know where to look; I don’t know what to look for.”

And there’s the crux. Is it worth giv­ing up what I have to look for some­thing bet­ter? I don’t know— is it? Who can make that deci­sion but you? But even by DECIDING TO LOOK, you go a long way toward mak­ing the choice.

If I don’t call this to a halt, I’m going to find myself writ­ing a book. I hope it’s not as con­fus­ing as it looks at first glance. Keep in mind, of course, that this is MY WAY of look­ing at things. I hap­pen to think that it’s pret­ty gen­er­al­ly applic­a­ble, but you may not. Each of us has to cre­ate our own cre­do— this mere­ly hap­pens to be mine.

If any part of it doesn’t seem to make sense, by all means call it to my atten­tion. I’m not try­ing to send you out “on the road” in search of Val­hal­la, but mere­ly point­ing out that it is not nec­es­sary to accept the choic­es hand­ed down to you by life as you know it. There is more to it than that— no one HAS to do some­thing he doesn’t want to do for the rest of his life. But then again, if that’s what you wind up doing, by all means con­vince your­self that you HAD to do it. You’ll have lots of com­pa­ny.

And that’s it for now. Until I hear from you again, I remain,

your friend,
Hunter

Relat­ed Con­tent:

Read 10 Free Arti­cles by Hunter S. Thomp­son That Span His Gonzo Jour­nal­ist Career (1965–2005)

Hunter S. Thomp­son Inter­views Kei­th Richards

John­ny Depp Reads Let­ters from Hunter S. Thomp­son

Hunter S. Thomp­son Gets Con­front­ed by The Hell’s Angels

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of bad­gers and even more pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

Michel Gondry’s Finest Music Videos for Björk, Radiohead & More: The Last of the Music Video Gods

We didn’t real­ize it at the time, but Michel Gondry was one of the last great music video direc­tors, cre­at­ing mini-epics just before the music indus­try col­lapsed, bud­gets dis­ap­peared, and now your cousin with a Canon 7D is fol­low­ing his friend’s band around in a field and putting *that* up on Vimeo. Maybe Gondry too saw the writ­ing on the wall, because, by the begin­ning of the ‘aughts, he was inch­ing his way into Hol­ly­wood, first with Human Nature and then strik­ing pay­dirt with the Char­lie Kauf­man-script­ed Eter­nal Sun­shine of the Spot­less Mind, one of the best French films ever made that wasn’t French (apart from the direc­tor).

But in the twi­light of music videos, Gondry’s best work com­bined new tech­nol­o­gy with the home­made, DIY aes­thet­ic. His inter­est in frac­tals, math­e­mat­ics, and log­i­cal para­dox­es and loops went into the mix. As did his inter­est in the machin­ery and arti­fice of movie mak­ing. And as did his roman­tic, auto­bi­o­graph­i­cal side. What fol­lows is a small selec­tion of some of his best, most com­plex music videos.

Gondry direct­ed sev­er­al videos for Björk, start­ing with “Human Behav­ior,” her first solo sin­gle, but 1997’s “Bach­e­lorette” (top) goes beyond play­ful into heart­break­ing. A riff on an infi­nite­ly recur­sive poem, a sto­ry that is about the telling of itself, the video finds Björk dis­cov­er­ing a book in the woods that begins to write itself. As she finds a pub­lish­er, gains suc­cess, and sees the book turned into a musi­cal, the sto­ry is told again, and then again, a play with­in a play with­in a play. But each ver­sion is ana­log, not dig­i­tal, and los­es some­thing in the process, and the for­est creeps back in to claim its work.

Sim­i­lar­ly, in this video for The Chem­i­cal Broth­ers’ song “Let For­ev­er Be” (1999) Gondry sets up two worlds, one on dig­i­tal video, where our hero­ine attempts to wake up and go to work at a depart­ment store; and anoth­er shot on film, where the girl’s numer­ous dop­pel­gängers par­o­dy her strug­gle and her grip on san­i­ty through chore­o­graphed dance num­bers. This illus­trates a famil­iar Gondry equa­tion: If A and B, then A+B equals freak­out mad­ness time. The col­or­bars of video pro­duc­tion loom near­by to fur­ther the idea of irre­al­i­ty, and a cheesy VideoToast­er-style effect res­cues us at the end.

As far as we know, Radiohead’s “Knives Out” (2001) has noth­ing to do with hos­pi­tals, but Gondry took this can­ni­bal­is­tic song and made one of his most per­son­al videos. Here Thom Yorke stands in for the direc­tor, as Gondry offers a mea cul­pa about a rela­tion­ship that went past its expi­ra­tion date, when his girl­friend devel­oped an ill­ness and he couldn’t bear to break up with her. All of that is laid out, in sad, fever-dream detail, in this sin­gle-take video that fea­tures a lot of his obses­sions: toys, tele­vi­sion, loops, and a shuf­fling of sym­bols and motifs. Look for Gondry’s son briefly play­ing on the floor.

And final­ly:

Not to go out with a sour note, here’s Gondry’s adven­tur­ous 1994 video for the swal­lowed-by-his­to­ry Lucas. “Lucas with the Lid Off” is one of Gondry’s first one-take mas­ter­pieces that shows how the mag­ic is made while still being mag­i­cal. (The cur­rent kings of sin­gle-take music videos, OK Go, owe their suc­cess to Gondry.) It’s also a video that tries to give each sam­pled loop its own ele­ment with­in the video, look­ing for­ward to his work for Daft Punk (“Around the World”) and The Chem­i­cal Broth­ers (“Star Gui­tar”).

Gondry con­tin­ues to make videos–he made one last year for Metronomy’s “Love Let­ters,” but his atten­tion is real­ly else­where. Enjoy these gems from his clas­sic era.

Note: Gondry’s 1988 short ani­mat­ed film, Jazzmos­phere, an explo­ration of jazz and images, has been added to our col­lec­tion, 4,000+ Free Movies Online: Great Clas­sics, Indies, Noir, West­erns, Doc­u­men­taries & More.

Ted Mills is a free­lance writer on the arts who cur­rent­ly hosts the FunkZone Pod­cast. You can also fol­low him on Twit­ter at @tedmills and/or watch his films here.

A Playlist of 172 Songs from Wes Anderson Soundtracks: From Bottle Rocket to The Grand Budapest Hotel

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So much of the writ­ing done about the films of Wes Ander­son focus­es on their visu­als — and with good cause. We’ve fea­tured pieces on every­thing from the design of their set­tings to the sym­me­try of their shots to their quo­ta­tion of oth­er movies. You can’t talk about the aes­thet­ic dis­tinc­tive­ness of Ander­son­’s work unless you talk about its visu­al dis­tinc­tive­ness, but you also miss out on a lot if you focus sole­ly on that. We must­n’t for­get the impor­tance of sound in all of this, and specif­i­cal­ly the impor­tance of music.

Casu­al Ander­son fans might here think of one kind of music before all oth­ers: the British Inva­sion. The Cre­ation’s “Mak­ing Time” in Rush­more, the Rolling Stones’ “Ruby Tues­day” in The Roy­al Tenen­baums, and, to take the con­cept in as Ander­son­ian a direc­tion as pos­si­ble, Por­tuguese-lan­guage cov­ers of David Bowie songs in The Life Aquat­ic with Steve Zis­sou.

Yet Ander­son­’s projects have made use of quite a few oth­er musi­cal tra­di­tions besides, as you’ll already know if you remem­ber the jazz-scored short ver­sion of Bot­tle Rock­et we fea­tured a cou­ple years ago.

But get­ting the clear­est sense of the music might require tem­porar­i­ly sep­a­rat­ing it from the movies. To that end, we offer you “From Bot­tle Rock­et to The Grand Budapest Hotel,” a Spo­ti­fy playlist by Michael Park bring­ing togeth­er 172 of the songs includ­ed in Ander­son­’s eight fea­tures so far, com­ing to over nine and a half hours of immac­u­late­ly curat­ed, 20th cen­tu­ry coun­ter­cul­ture-root­ed music, from not just the Stones and Bowie-via-Seu Jorge but Horace Sil­ver, the Kinks, the Vince Guaral­di Trio, Elliott Smith, Yves Mon­tand, Nick Drake, and the Vel­vet Under­ground. (To lis­ten, you need only down­load and reg­is­ter for Spo­ti­fy.)

While you lis­ten, why not read through Oscar Rick­et­t’s Vice inter­view with Ander­son­’s music super­vi­sor Ran­dall Poster? “Wes always talks about how those guys would wear coats and ties on the cov­er of their records but that the music was so aggres­sive and rebel­lious,” says Poster of the direc­tor’s last­ing pen­chant for the British Inva­sion. “I think that cor­re­spond­ed to [Rush­more pro­tag­o­nist] Max Fis­ch­er because he was this kid who, under­neath it all, was look­ing to break through. The music speaks to his char­ac­ter, who is out of time with the world, and I think that’s a run­ning theme in our movies and you can see it with M. Gus­tave in Grand Budapest Hotel, who is hold­ing on to a more man­nered, gen­teel era.” And what cur­rent works of art have expressed gen­teel rebel­lion, or rebel­lious gen­til­i­ty, so well as Ander­son­’s?

Relat­ed Con­tent:

What’s the Big Deal About Wes Anderson’s The Grand Budapest Hotel? Matt Zoller Seitz’s Video Essay Explains

The Per­fect Sym­me­try of Wes Anderson’s Movies

A Glimpse Into How Wes Ander­son Cre­ative­ly Remixes/Recycles Scenes in His Dif­fer­ent Films

Watch Wes Anderson’s Charm­ing New Short Film, Castel­lo Cav­al­can­ti, Star­ring Jason Schwartz­man

Wes Anderson’s First Short Film: The Black-and-White, Jazz-Scored Bot­tle Rock­et (1992)

Watch 7 New Video Essays on Wes Anderson’s Films: Rush­moreThe Roy­al Tenen­baums & More

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture as well as the video series The City in Cin­e­ma and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

Download Pink Floyd’s 1975 Comic Book Program for The Dark Side of the Moon Tour

Pink Floyd Comic 1
For all their seri­ous brood­ing and bit­ing digs at the estab­lish­ment, the mem­bers of Pink Floyd were not above hav­ing a lit­tle fun with their image. Take this 1975 com­ic book, cre­at­ed by their record cov­er design­er Storm Thorgerson’s com­pa­ny Hipg­no­sis for the Dark Side of the Moon tour. A “Super, All-Action Offi­cial Music Pro­gramme for Boys and Girls,” the 15-page oddity—pitched, writes Dan­ger­ous Minds, “some­where halfway between ‘pro­fes­sion­al pro­mo­tion­al item’ and ‘schoolboy’s note­book scribbling’”—includes sev­er­al short com­ic sto­ries: Roger (“Rog”) Waters is an “ace goal-scor­er” for the “Grantch­ester Rovers” foot­ball club. Floyd drum­mer Nick Mason becomes “Cap­tain Mason, R.N.,” a “coura­geous and smart” WWII naval hero, and David Gilmour gets cast as stunt cyclist “Dave Der­ring.” The juici­est part goes to key­boardist Richard Wright, whose sala­cious exploits as high roller “Rich Right” com­plete the pro­to-Heavy Met­al vibe of the whole thing.

Floyd Comic 2

Per­haps most fun is a sil­ly ques­tion­naire called “Life Lines” that asks each band mem­ber about such triv­ia as age, weight, height, “philo­soph­i­cal beliefs,” “sex­u­al pro­cliv­i­ties,” “polit­i­cal lean­ings,” and “musi­cal hates.” Most of the answers are of the flip­pant, smar­tass vari­ety, but I think they’re all sin­cere when they name their favorite movies: Beyond the Val­ley of the Dolls, The Sev­enth Seal, Cool Hand Luke, and El Topo. I’ll let you fig­ure out who chose which one. (Click the image above, then click again, to enlarge.) The penul­ti­mate page includes the lyrics to three new songs the band was work­ing on at the time and play­ing live dur­ing the Dark Side of the Moon Tour: “Shine on You Crazy Dia­mond,” and two unre­leased tracks, “Rav­ing and Drool­ing” and “Got­ta Be Crazy”—which lat­er turned into “Sheep” and “Dogs,” respec­tive­ly, on the Ani­mals album.

Pink Floyd Comic 3

The com­ic takes the goofi­ness of Beat­le­ma­nia-like merch to a much far­ther out place—somewhere “beyond the 3rd Bar­do.” One mem­ber of the Inter­na­tion­al Roger Waters Fan­club, who kept his pro­gram com­ic book for decades after see­ing the Dark Side show in San Fran­cis­co, writes “I was so wast­ed on acid at the show, I don’t know how I held on to any­thing.” Hipg­no­sis, and Floyd, sure­ly knew their audi­ence. You can down­load the whole thing here, in high res­o­lu­tion images. See much more Pink Floyd tour mem­o­ra­bil­ia at the fan­site Pinfloydz.com.

via Dan­ger­ous Minds

Relat­ed Con­tent:

Watch Doc­u­men­taries on the Mak­ing of Pink Floyd’s Dark Side of the Moon and Wish You Were Here

Pink Floyd Plays With Their Brand New Singer & Gui­tarist David Gilmour on French TV (1968)

Dark Side of the Rain­bow: Pink Floyd Meets The Wiz­ard of Oz in One of the Ear­li­est Mash-Ups

Josh Jones is a writer and musi­cian based in Durham, NC. Fol­low him at @jdmagness

Two Short Films on Coffee and Cigarettes from Jim Jarmusch & Paul Thomas Anderson

When Amer­i­can soci­ety relin­quished cig­a­rettes, Amer­i­can cin­e­ma lost one of its most dra­mat­ic visu­al devices. You still see smok­ing in the movies, but its mean­ing has changed. “A cig­a­rette wasn’t always a state­ment,” wrote David Sedaris when he him­self kicked the habit. “Back when I start­ed, you could still smoke at work, even if you worked in a hos­pi­tal where kids with no legs were hooked up to machines. If a char­ac­ter smoked on a TV show, it did not nec­es­sar­i­ly mean that he was weak or evil. It was like see­ing some­one who wore a striped tie or part­ed his hair on the left — a detail, but not a telling one.”

These two short films show Amer­i­can auteurs keep­ing the cin­e­mat­ic cen­tral­i­ty of the cig­a­rette alive well after its hey­day had end­ed. At the top of the post, you can watch Jim Jar­musch’s 1986 short Cof­fee and Cig­a­rettes, which stars Steven Wright and Rober­to Benig­ni sit­ting down for and talk­ing about those very same con­sum­ables. It began a long-term project that cul­mi­nat­ed in Jar­musch’s 2003 fea­ture of the same name, which com­pris­es eleven such cof­fee- and cig­a­rette-cen­tric short films (one of them fea­tur­ing Iggy Pop and Tom Waits, anoth­er fea­tur­ing Bill Mur) shot over those eigh­teen years.

While one might nat­u­ral­ly have met a friend specif­i­cal­ly to enjoy caf­feine and nico­tine in the mid-1980s, a decade lat­er the sit­u­a­tion had changed: only in Amer­i­ca’s seed­i­er cor­ners could you even find a cof­fee-serv­ing estab­lish­ment to smoke in. Paul Thomas Ander­son used this very set­ting to begin his career with Cig­a­rettes and Cof­fee below. Eschew­ing film school, he gath­ered up his col­lege fund, some gam­bling win­nings, his girl­friend’s cred­it card, and var­i­ous oth­er bits and pieces of fund­ing in order to com­mit this short sto­ry to film.

It worked: Cig­a­rettes and Cof­fee scored Ander­son an invi­ta­tion to the Sun­dance Film­mak­ers Lab, a set­ting that allowed him to adapt the short into his fea­ture debut Hard Eight. Like Cig­a­rettes and Cof­feeHard Eight stars Philip Bak­er Hall, a favorite actor of Ander­son­’s that he went on to use in both Boo­gie Nights and Mag­no­lia. The­mat­i­cal­ly, this tale of a group of low-liv­ing but in their own ways hard-striv­ing char­ac­ters all con­nect­ed by a $20 bill presages the themes that, in his pic­tures of high­er and high­er pro­file, he con­tin­ues to work with today.

And can it be an acci­dent that Ander­son has, in the main, set his films in past eras that not only accept­ed smok­ing, but expect­ed it? Jar­musch, for his part, seems to pre­fer milieus at increas­ing dis­tance from our every­day expe­ri­ence, amid urban samu­rai, assas­sins in for­eign lands, immor­tal vam­pires in Detroit, that sort of thing. So if these film­mak­ers want to keep using smok­ing, they have ways. I just hope cof­fee does­n’t fall out of style. That would bring about a world that, as a film­go­er and a human being, I doubt I’d be pre­pared to live in.

Relat­ed Con­tent:

How Paul Thomas Ander­son Dropped Out of NYU Film School in 2 Days; Stud­ied Lit­er­a­ture with David Fos­ter Wal­lace

John Cleese Stars in a Mor­bid­ly Fun­ny Anti-Smok­ing Cam­paign (1992–1994)

An Anti, Anti-Smok­ing Announce­ment from John Waters

Bertrand Rus­sell: “I Owe My Life to Smok­ing”

Col­in Mar­shall hosts and pro­duces Note­book on Cities and Cul­ture as well as the video series The City in Cin­e­ma and writes essays on cities, lan­guage, Asia, and men’s style. He’s at work on a book about Los Ange­les, A Los Ange­les Primer. Fol­low him on Twit­ter at @colinmarshall or on Face­book.

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