Thanks, I appreciate that.
We can hold the chat on Saturday and Sunday, both at the same times each day. How does that sound?
Oh, and here's the log:
<criterionmaster [Dan]> Columbia logo! YES!
<criterionmaster> Bottle Rocket!
<sidehacker> Oooh, the Columbia lady?
<criterionmaster> Yes.
<sidehacker> [Wes] Anderson always uses the same fonts for like... everything.
<andruini> Riiiiiight, so I'm gonna leave, I look forward to reading the awesome discussion that will take place here. Enjoy.
<ie> We will.
<andruini> I will destroy your forum while you're not looking Dan.
<criterionmaster> What was the first Anderson film everyone saw?
<ie> The Royal Tenenbaums, then Bottle Rocket.
<blackmoses> The Life Aquatic with Steve Zissou.
<sidehacker> Rushmore, which is my favorite of his.
<criterionmaster> Mine too.
<blackmoses> Then I don't know. Mine three.
<misterbalco> The Life Aquatic is kinda lame.
<criterionmaster> It's the most perfect example of everything he can do.
<blackmoses> NO!
<ie> Hey, let's talk about the movie...
<criterionmaster> I think it is his worst film easily, but I still love it.
<sidehacker> I enjoyed The Life Aquatic, but the over-stylization kind of interrupts any sense of emotion.
<sidehacker> Oh yeah, sorry.
<blackmoses> I think this is his worst, but still like it a lot.
<ie> So, how come the intro where Anthony escapes seems like such a unique intro?
<ie> No problem.
<sidehacker> When I first saw Bottle Rocket, the opening scene confused the hell out of me.
<ie> I thought it was unique.
<blackmoses> Alright, I have to go. I will be here next week.
<criterionmaster> I first saw this film on Comedy Central, not a good way to watch the film.
<misterbalco> I think I gotta be here next week also. I got massive homework.
<ie> Okay.
<sidehacker> Yeah, I suppose Sunday isn't the best day to plan one of these.
<ie> Maybe.
<ie> Oh, now they're robbing the house.
<criterionmaster> The song playing, who is it?
<ie> Dunno.
<criterionmaster> It was pretty good.
<sidehacker> Probably Love.
<ie> But when they just kind of walked in, I kind of thought it was one of their relatives' houses.
<sidehacker> Love's music is pretty apparent throughout all of Bottle Rocket.
<ie> Then, they talk about it after the robbery. That was funny.
<criterionmaster> I think that the soundtrack on this film is Anderson's worst.
<ie> Well, you can't beat Hey Jude.
<sidehacker> No, definitely the best.
<criterionmaster> It is good, but I much prefer it when he has more money to do soundtracks.
<sidehacker> Damnit, Wikipedia makes no mention of the film's soundtrack.
<ie> Yeah, I just checked myself.
<criterionmaster> Kids irritate me in films, most of the time. I especially don't like when they act like adults.
<ie> Yeah, I can understand that.
<ie> Heh, Bob trying to join the gang. He's the only one with a car, yet he needs to go through an interview.
<criterionmaster> Who do you like better of the Wilsons?
<sidehacker> I..uh got to go, but I may be back a little later. Good luck to the two of you. :/
<ie> Okay.
<criterionmaster> Ok.
<criterionmaster> Now it is just us two.
<ie> Yeah, that was kind of odd how everyone left.
<criterionmaster> Well, blackmoses has to go serve mass...
<ie> At night?
<criterionmaster> Yeah. That's funny, Future Man found one leaf in there.
<ie> Yeah, then he gets pissed. And "Future Man" as a name. Heh.
<criterionmaster> This really deserves a Criterion release, since all of Anderson's other films have one. But I doubt it will ever happen, because Columbia doesn't give out rights to their films often.
<criterionmaster> I love that shooting scene.
<ie> And here, we just saw some Gun Fu.
<criterionmaster> Owen Wilson is really funny. I wish he wouldn't do all the crap he does.
<ie> Yeah, he does too much crap.
<ie> In a Tarantino movie, the gun would have gone off.
Then they would have gone on a wild adventure.
<criterionmaster> Owen Wilson is a very good writer too, he should have worked on The Life Aquatic, I think that is what that film was missing. He always collaborates with Anderson, but for some reason, he didn't there.
<ie> That's just so hilarious that they robbed a bookstore.
<criterionmaster> The tape on the nose.
<ie> The drumming in the background is pretty good.
<criterionmaster> The signals he uses, that's so funny.
<ie> "I left some money."
<criterionmaster> It seems like I recognize that guy, Stretch, from somewhere. (lol)
<ie> Heh. Some move there, Dignan.
<criterionmaster> A lot of little bags. lol.
<ie> Yeah, and you'd think they would have worn masks. Then again, everything seems exaggerated.
<criterionmaster> Spirit award.
<criterionmaster> Yeah, I don't think any of this is meant realistically.
<ie> I want the Spirit Award.
<ie> True, but it just seems so funny.
<criterionmaster> Yeah, the characters are exaggerated, but also have things that make them realistic and likable, and the whole plot is just very unrealistic, but funny.
<ie> That makes sense.
<ie> Oh, I thought the lights in the background were a cop car. Behind Dignan. They go blue and red and kind of flash. Did you see it?
<criterionmaster> No, I missed that.
<ie> Want to go back? I'll pause.
<ie> I paused. Look in the background when the camera is on Dignan.
<criterionmaster> That's alright, the remote is much too far away.
<ie> Toward the beginning. Well, get up.
<criterionmaster> Okay, what do you want me to look at?
<ie> In the background, behind Dignan, outside. There are flashing lights. I thought that was a police car at first.
<criterionmaster> I don't see them.
<ie> Yo-yo, andruini. We just got to the scene where they finish robbing the bookstore.
<criterionmaster> Let me go back a minute.
<andruini> Sweet.
<ie> After the "Now is not a good time to bring up the crew." In the background, outside, there are some flashing lights. They kind of looked like the lights on a police car to me.
<criterionmaster> I think I saw something.
<ie> Which would have been funny: their plot got foiled!
<criterionmaster> Yeah, but the movie would have been quite short.
<criterionmaster> Okay, I am at "Yes, they are landscapers."
<ie> I was going to upload a screenshot, let me fast forward.
<ie> Fast-forwarded to Dignan getting told he's fired. So where are you now?
<criterionmaster> This is definitely one of the best debut films for that thread I made, unless you already posted it.
<ie> I think I did.
<criterionmaster> Put on glasses. Driving, oh this song is amazing.
<ie> Okay, we're caught up.
<criterionmaster> Getting all the fireworks.
<ie> Yup. For some reason, the song doesn't really do it for me.
<criterionmaster> This shot is something I would love to do, where he is hanging out the window. It would be dangerous though, because the camera could easily fall out. But I love the way it looks and feels.
<ie> "Best room in the house."
<criterionmaster> Yeah.
<ie> Underwater shot, ala Jaws.
<criterionmaster> That going to the bottom of the pool, I believe, is an homage to the Graduate.
<ie> Duh duh, duh duh...
<ie> I still need to see that.
<criterionmaster> Yes, that is a must.
<criterionmaster> This song works so well, that Spanish song.
<ie> You can also see Anderson's style with the shots of individual things, like the radio.
<ie> "I just can't get my hair cuit. That's just not a possiblity."
<ie> As the saying goes: friends don't let friends get a hair cut.
<criterionmaster> Yes, his shots are very fun. That hanging out the window reminded me of like a dog hanging out the window, with the breeze blowing.
<ie> Oh yeah.
<ie> They picked a great location for the hotel and hotel room. Good scenery in the background.
<criterionmaster> She isn't even that good looking, I don't know what he sees in her. Yes, the colors of the hotel are very nice, love the feel.
<ie> She looks nice.
<ie> He just kind of walks in and just starts hanging out.
<criterionmaster> Love how the hotel is painted inside, very sixties almost. Yeah, she isn't ugly, but she just isn't jawdropping like he thought she was.
<criterionmaster> Closeups, ala Bergman. lol
<criterionmaster> "We are going to have to take a raincheck."
<ie> True, but it's all just exaggeration. At least they didn't get Divine to play Inez.
<criterionmaster> lol, true.
<ie> They couldn't, but if they did, that would have been kinda bad.
<criterionmaster> Divine would have been quite a weird choice, but it died a couple years before this film.
<ie> I know. It's sad.
<criterionmaster> All the handheld camera work actually works well. Sometimes, it is too forced, but I like it here.
(Scene where Dignan and Bob find all of Inez's friends in their apartment.)
<criterionmaster> The pool water looks so beautiful...
<ie> Yeah, the CGI effect on the water is nice...
It looks so realistic.
<criterionmaster> "Marco." "Do you mind if I take a dip?"
<ie> "Swim at your own risk." "I'm not that insensitive," and then he sits down.
(Shot of Bob taking the keys.)
<criterionmaster> I tried counting the change on the table, but I couldn't finish.
<ie> He's like... hmm.... then SNATCH.
<ie> "We'll blow up his car."
(They're in the diner.)
<criterionmaster> This scene reminds me of Pulp Fiction.
<criterionmaster> lol
<ie> Except, they don't have guns and Jackson isn't in the background.
<ie> I was surprised that Anthony didn't take the picture he was drawing of Inez with him when he leaves.
<criterionmaster> This running song is great.
<ie> I agree. The camera work is also pretty good too.
<criterionmaster> Although I do feel it has been done in quite a few movies, but I still like it.
(I wanted to say this when I saw some fireworks, a bit of an inside joke.
)
<ie> SURPRISE BOTTLE ROCKET SECKS!
<criterionmaster> lol
* ie explodes
<ie> Busta nut.
<criterionmaster> I like how he pulls his shirt off, its always funny when people do it that way.
<criterionmaster> I was surprised that she only locked the door, but didn't close the curtains. Or at least, I couldn't tell if she did.
<ie> Didn't Anthony already kind of close the curtains?
<criterionmaster> Oh, I didn't even realize it. lol
<ie> Want to pause while I check?
<criterionmaster> Okay. Paused right when he walks into the bar. I mean, when they finish going to the bathroom.
<ie> He closes the white blinds, but not the green blinds.
<criterionmaster> Ah. Tell me when you are back.
<ie> Inex is speaking to the Spanish guy now.
<criterionmaster> Okay.
<ie> "That guy was a real chatterbox."
<criterionmaster> Yeah.
<ie> I was just thinking, the DVD is really bare bones. The short would have been great to see, and knowing what they said in Spanish would have also been nice.
<ie> "I'm calling my gang."
<criterionmaster> Yeah, the DVD sucks. I would have loved a commentary.
<ie> Yeah, we need a movie where someone can watch the commentary and comment on it.
<criterionmaster> Yeah, or a movie I know a lot about.
<ie> Or one I know a lot about.
<criterionmaster> I have only seen this one twice, once cut, and about like more than one year ago.
<ie> I just saw this movie last week for the first time.
<criterionmaster> Yeah, so it is still fresh in your mind.
<criterionmaster> I was thinknig of doing something like
Cinemaslave, where they do like a Kubrick Marathon, and they have everyone watch the Kubrick films and then we all post thoughts and junk. Might work.
<ie> Yeah, might work, but then I'd have to get a whole bunch of movies.
<criterionmaster> Well, you wouldn't have to buy them, and you would have a couple months and stuff.
<ie> Buy or borrow for the library, yeah. But it's take a while.
<criterionmaster> I actually know pretty good Spanish, but I can't understand this.
<ie> I know three phrases: que pasa, Amores perros and si.
<criterionmaster> lol
<ie> I thougt they did the translation scenes well; didn't seem like they were just reading off a script.
<criterionmaster> Yeah.
<criterionmaster> Dignan's nose is so messed up. Well, Owen's in real life.
<ie> Yeah, oh well.
<criterionmaster> This song is outstanding. I really underrated this soundtrack.
<ie> Ba ba ba ba Baa.
<criterionmaster> I fucking love this song. Shit. And it fits so perfectly with what is happening.
<ie> That's true.
<criterionmaster> "$16."
<criterionmaster> I could live for a week on that.
<ie> Or you could buy half of a Criterion Collection DVD.
<criterionmaster> Barely.
<criterionmaster> This location is awesome.
<ie> I could probably get by on that myself. It'd cover the bus fares, at least.
<criterionmaster> Do you hear that plane flying over?
<ie> Nope.
<criterionmaster> Yeah, buses here cost $1.25, and food would cost about $10 for a week.
<ie> Same.
<criterionmaster> Yeah, a plane flew over head. I doubt it was planned, but the scene still went on.
<ie> I didn't even realize he had a screwdriver in his hand the first time through.
<criterionmaster> Jesus, that scared the shit out of me.
<ie> Yeah, I was like "what the hell?"
<ie> You could tell that it was fake blood, but it didn't matter.
<criterionmaster> The blood does look fake, but that scene works great.
<ie> Just the sound effect alone was all you needed.
<criterionmaster> Yeah.
<criterionmaster> Again, that shot. Out the window, I love it.
<criterionmaster> Narration in film doesn't always work. Here, it is pretty good.
<criterionmaster> Works, at least.
<ie> I think narration works out pretty well, myself.
<criterionmaster> Well, I think sometimes it is used for poor storytelling.
<criterionmaster> But, other times, it is used perfectly, id est Goodfellas.
<ie> Perhaps, but sometimes you just can't avoid it.
<ie> "How's the weather down there?"
<ie> "It's locked." "Try again." Heh.
<criterionmaster> I am surprised they got James Cann to be in this. He is awesome. If I was an actor, I woudld love doing little films like this.
<ie> Yeah.
<criterionmaster> His name really must have given the film so much credit. Without names, usually films are hard to market.
<ie> To some degree. They usually need something to sell.
<ie> I didn't catch why he fired Dignan.
<criterionmaster> But then again, now that Owens is so big, you could easily remarket this film using his name and everyone would buy it.
<ie> Could you pause?
<criterionmaster> Okay, I did.
<ie> Call from the gas station.
<criterionmaster> Tell me when you are back.
<ie> Back, and I'm at the gas station talk.
<ie> Dignan returns.
<criterionmaster> Okay.
<criterionmaster> What score did you give this film?
<ie> Didn't give it anything yet. Haven't decided yet.
<criterionmaster> Oh.
<criterionmaster> I was thinking we could just have general chats in here sometime too, like just about any topic. Doesn't have to be a film.
<ie> Oh yeah, that could work too.
<criterionmaster> That guy is fighting in his underwear.
<ie> Yeah, kind of strange.
<criterionmaster> "This is my house, asshole."
<criterionmaster> God, that pool just grabs my eyes. I love it.
<ie> "We don't settle this with-" *pow*
<criterionmaster> I wonder what the budget on this film was...
<criterionmaster> This seems like a much bigger budget than most indie films.
<ie> Dunno, they don't say.
<criterionmaster> I love his laugh. It made me start laughing.
<criterionmaster> "Your brother is a cocksucker." Haha!
<ie> "Didn't offend me at all." Then Future Man leaves.
<criterionmaster> Surprisingly, I don't remember this film as much as I thought.
<criterionmaster> You really need to see Rushmore.
<ie> I do. I need to see a lot of movies.
<criterionmaster> lol, true.
<ie> "He's just a mixed up kid."
<criterionmaster> That couch, very sixties, almost. A lot of things in this film remind me of the sixties. I just love Anderson's choice of colors. In all of his films, he picks really bright colors.
<ie> I remember hearing something about how the colors were split up into the three sections of the movie.
<criterionmaster> Like how do you mean?
<ie> Beginning, middle and end, all had different color schemes.
<criterionmaster> Oh, that is interesting.
<ie> I forget where I read that. I'll look it up after the movie is over.* **
<criterionmaster> I know that with most of his films, Anderson's brother works on them, helping him with backgrounds and colors and stuff, he is really awesome.
<criterionmaster> Not a big fan of that jazz music.
<ie> It's decent.
<ie> "Kumar, are you ready?"
<criterionmaster> lol
<ie> "Just hit my knee."
<ie> Kumar has no idea what's going on.
<criterionmaster> They are all so clumsy.
<ie> Yeah.
<criterionmaster> This is my favorite part of the film, probably. I love how none of them have a clue what they are doing, and they are just going crazy.
<ie> "They've already seen our faces!"
<criterionmaster> There is your Pulp Fiction.
<ie> Yeah, the Tarantino moment.
<ie> "I can't see."
<ie> "What were you doing in the freezer," Dan?
<criterionmaster> That van, it definitely works with everything else in the film. I love it.
<ie> Is that a Mick Jagger / Rolling Stones song?
<criterionmaster> I can't tell. I don't think so, but maybe.
<ie> I think it is.
<ie> He gets locked out.
<criterionmaster> Love this scene!!! With the cops, and running, and just locations, everything is perfect.
<ie> "No Exit."
<ie> Police brutality!
<criterionmaster> Definitely Jagger. lol
(It's the song "2000 Man", off
Their Satanic Majesties Request<ie> Yeah, I was thinking that after the chase began. With the guitars, especially.
<criterionmaster> This is an unusual direction for a comedy to turn, but it reminds me of all of Anderson's films. He has things like this in all of his films, like the suicide attempt in the Royal Tenenbaums.
<ie> Yeah.
<ie> "I almost robbed that place myself."
<criterionmaster> lol
<criterionmaster> lol
<criterionmaster> That kinda touched me.
<ie> In a strange place?
<criterionmaster> I am hungry for that food they are eating.
<ie> Let's go get a taco.
* andruini has joined
<criterionmaster> lol! That is such a good twist.
<criterionmaster> The grappling hook, I love it.
<ie> They're planning an escape.
<criterionmaster> It's such a change in tone again.
<criterionmaster> NOW!
<ie> Yo-yo.
<criterionmaster> "Used to be in the nut hose, now I'm in jail."
<ie> Oh, it was all a big joke. Yeah.
<criterionmaster> Slow motion.
<ie> You made it for the very end of the movie, andruini!
<criterionmaster> Slow motion is often overused, but with this music, it works so amazingly.
<criterionmaster> That wave, oh dog, such an amazing film.
<ie> Well, doesn't he use slow motion on every ending for every movie he makes?
<criterionmaster> Indeed. And it works at all the end of his films. But I'm glad he doesn't use it a lot.
<andruini> Oh man, I want to watch this now.
<criterionmaster> lol
<ie> Yeah. Well, get it for next week.
<criterionmaster> James Cann, he is the man.
<misterbalco> Where we at?
<ie> Oh man, these credits are AWESOME!
<criterionmaster> Just finished like a second ago.
<misterbalco> We finished? lol
<criterionmaster> Such an amazing end to such an amazing film.
<misterbalco> Wasn't that movie fucking sweet?
<criterionmaster> Anderson's slow motion, I love it.
<criterionmaster> I underrated the soundtrack so much.
<ie> The white text on black background for the credits. So original.
<criterionmaster> We have 1 minute and 15 seconds left.
<criterionmaster> I do love it.
<misterbalco> Then what?
<misterbalco> Chat away?
*ie explodes
<ie> I explode, that's what.
<criterionmaster> Until the film is finished.
<criterionmaster> Fantastic.
<criterionmaster> *clapping*
(This log was edited for clarity, spelling, and to make ourselves look better by not showing some of the obvious questions we asked. And, I had to re-type this, so there may have been some typos.)
* Unfortunately, I wasn't able to find said article about the color schemes, but basically, the beginning had more primary colors, the middle had everything, and the ending was more calm. I think.
** I found these while looking for that bit about the color schemes.
Comparison shots of locations in 1995 (movie) and in 2004 (by some guy with a camera).
Also of interest:
Wes Anderson
by Martin Scorsese
A couple of years ago, I watched a film called Bottle Rocket.
I knew nothing about it, and the movie really took me by surprise. Here was a picture without a trace of cynicism, that obviously grew out of its director's affection for his characters in particular and for people in general. A rarity. And the central idea of the film is so delicate, so human: A group of young guys think that their lives have to be filled with risk and danger in order to be real. They don't know that it's okay simply to be who they are.
Wes Anderson, at age thirty, has a very special kind of talent: He knows how to convey the simple joys and interactions between people so well and with such richness. This kind of sensibility is rare in movies. Leo McCarey, the director of Make Way for Tomorrow and The Awful Truth, comes to mind. And so does Jean Renoir. I remember seeing Renoir's films as a child and immediately feeling connected to the characters through his love for them. It's the same with Anderson. I've found myself going back and watching Bottle Rocket several times. I'm also very fond of his second film, Rushmore (1998) - it has the same tenderness, the same kind of grace. Both of them are very funny, but also very moving.
Anderson has a fine sense of how music works against an image. There's the beautiful ending of Rushmore, when Miss Cross removes Max Fischer's glasses and gazes into the boy's eyes—really the eyes of her dead husband—as the Faces' "Ooh La La" plays on the soundtrack. And I also love the scene in Bottle Rocket when Owen Wilson's character, Dignan, says, "They'll never catch me, man, 'cause I'm *beep* innocent." Then he runs off to save one of his partners in crime and gets captured by the police, over "2000 Man" by the Rolling Stones. He—and the music—are proclaiming who he really is: He's not innocent in the eyes of the law, but he's truly an innocent. For me, it's a transcendent moment. And transcendent moments are in short supply these days.
