Tough to tell! When we first saw the trailer for the quirk-laden stop-motion animated film in late July, we were caught a little off guard by the woodenness of some of the line readings from the likes of George Clooney and Bill Murray, and subsequent viewings at the Cineplex have done little to change our initial opinions. However, a recent Empire interview with the crew of The Fantastic Mr. Fox suggests that Anderson may have actually been more engaged with his actors than he was with the animators in charge of bringing his vision to life.
As the legend goes, Anderson had originally planned to work with renowned animator Henry Selick on this project (the two had previously worked together on The Life Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
gend goes, Anderson had originally planned to work with renowned animator Henry Selick on this project (the two had previously worked together on The Life Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
nderson had originally planned to work with renowned animator Henry Selick on this project (the two had previously worked together on The Life Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
originally planned to work with renowned animator Henry Selick on this project (the two had previously worked together on The Life Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
lanned to work with renowned animator Henry Selick on this project (the two had previously worked together on The Life Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
rk with renowned animator Henry Selick on this project (the two had previously worked together on The Life Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
wned animator Henry Selick on this project (the two had previously worked together on The Life Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
r Henry Selick on this project (the two had previously worked together on The Life Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
ck on this project (the two had previously worked together on The Life Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
roject (the two had previously worked together on The Life Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
two had previously worked together on The Life Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
iously worked together on The Life Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
d together on The Life Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
n The Life Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
fe Aquatic). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
em>). However, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
r, Selick left the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
ft the project to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
ct to focus on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
on Coraline and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
ine and was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
was ultimately replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
ely replaced by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
by Mark Gustafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
tafson. In the Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
he Empire interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
e interview (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
view (which was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
was originally unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
ly unearthed by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
by Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
“http://drnorth.wordpress.com/2009/08/16/fantastic/”>Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
rth.wordpress.com/2009/08/16/fantastic/”>Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
s.com/2009/08/16/fantastic/”>Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
8/16/fantastic/”>Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
ic/”>Spectacular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
ular Attractions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
ions), Gustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
ustafson suggests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
gests that Anderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
nderson was “keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
“keeping his distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
distance from the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
om the set and directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
nd directing via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
via e-mail, sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
sending in his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
his favorite DVDs to give an impression of what he’d like to see.” The film’s cinematographer, Tristan Oliver, seemed to reiterate this notion:
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I think Wes doesn’t understand what you can do, and he often wants us to do what you can’t do, and the length of time the process takes … I don’t think he quite comprehends that, and how difficult it is to change something once you’ve started. It takes a big amount of someone’s time to change a very small thing. I think he also doesn’t understand that an animator is a performer. An animator is an actor. And this is the secret to animation: You direct your animator, you do not direct the puppet, because the puppet is an inanimate object. You direct an animator as if you’re directing an actor, and they will give you a performance. So we’ll get a note back from Wes saying, “that arm movement is wrong.” But that arm movement is part of a fluid performance. And that has been really quite difficult for the animators.
Yikes! We can only assume that Anderson was spending all that time away from the set by meticulously giving direction to composer Alexander Desplat to make his score sound more twee. But look on the bright side, people: At least he didn’t use Twitter!
Wes Anderson Directed Fantastic Mr. Fox By E-Mail? [Cinemablend]
