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Wes Anderson is a divisive director. Some moviegoers resonate with his idiosyncratic style, while others loathe it. But wherever you land on the spectrum, you can’t deny how masterfully he utilizes music. We take a deep dive into his uncanny ability for finding just the right song for just the right moment, whether that’s how he distinguishes between songs and scores or how he uses music as a way to interpret the stories he tells.
Carl Sprague is a busy guy. You can see it in our conversation with him below. But, more importantly, you can see it on his résumé. Since he began building theater sets at Harvard University (he says it was more rewarding than directing actors), Carl has worked in the art departments of more than 30 films, including Oscar winners like The Social Network, 12 Years a Slave, and The Grand Budapest Hotel. While his collaborators include Stephen Spielberg, Martin Scorsese, Wes Anderson…
Something weird can happen when you start making a film (or start making anything, really). You can get too close to the project, lose perspective, and start writing things that sound good but aren’t actually true at all. It happens so easily, and you often don’t realize it until you look back. For Douglas Gautraud, the filmmaker behind the My RØDE Reel 2014 award-winning short film My Mom’s Motorcycle, telling the truth in his projects is the most important thing.