His recent film, âThe Darjeeling Limited,â is absolutely a return to form and another great film in a spectacular year of movies.
The movie is about three American brothers (played by Owen Wilson, Adrien Brody, and Jason Schwartzman) who have not spoken to each other in a year. They set off on a train voyage across
Anyway, during our roundtable discussion both Roman (one of the writers and the producer) and Wes talked about making the film,
And while I was at the press junket I was also able to interview Jason Schwartzman and Adrien Brody and those will be posted later tonight.
As always, you can either read the transcript below or listen to the roundtable interview as an MP3 by clicking here.
And if you missed the movie clips I posted a week or so agoâ¦.click here to watch them.
âThe Darjeeling Limitedâ is currently playing in limited release and it'll be expanding to more theaters next weekend.
Q: So whereâs the wine and the face cream?
Roman Coppola: Oh, if I carried around all my props, it would be a problem.
Wes Anderson: What is that?
Q: An energy drink.
Wes Anderson: It looks like beer.
Q: Itâs sort of but it tastes nothing like beer.
Wes Anderson: But itâs a beer type of design isnât it. The can I mean.
Q: So did you have a great love for India in history reading back or is it just the movies that youâd seen that you sort of said oh God Iâd love to do something there and then the 2nd part of that question is when you go there, when you see them on screen itâs one thing and you go to a country and itâs something totally different. You go wow, thatâs not what I saw on screen. So could you answer either one?
Wes Anderson: Yeah, Iâll try to answer all of it. The way I became interested in
Q: Your writing of this was a little unconventional I think even for you in terms of the way you did it and also you didnât actually go to India and do some writing until like until 8 months into the process of writing it, is that correct?
Wes Anderson: I donât know. I donât know how long it was but we had writtenâ¦
Roman Coppola: It was not quite a year, but it was almost a year. We started writing in April and we went in March.
Wes Anderson: We went in March is that right?
Roman Coppola: Yeah.
Wes Anderson: So thatâs what it was. I know that we had written most of the train part of the movie before we went on the train and so our train journey ended up being us sort of acting out what weâd written as much as it was us writingâ¦researching what that ought to be like, but I think everything we experienced found its was into the story one way or another. Primarily I think
Q: And you brought your printer along with you I understand.
Wes Anderson: Yeah, we had a printer on the train.
Q: Which he had some problems with right?
Wes Anderson: Oh yeah. You can tell that. It wasnât my fault really.
Roman Coppola: Yeah, we had a little adapter confusion and we plugged it into the wrong outlet and it blew up.
Wes Anderson: I mean Roman knew you were supposed to plug it into the one for the shavers but I didnât know that. How could I know that? I donât understand electricity like that.
Q: Did you guys talk about how can you kind of cooperate that process to write 3 people write one script? How do you make it?
Roman Coppola: Can I take this one?
Wes Anderson: Sure.
Roman Coppola: It started out just us. We kind of had a sense of what the spirit of the movie was. We all kind of understood it and then we just started to tell stories and throw out ideas and we didnât really get the typewriter out until quite a while into it. Weâd take notes and you know basically make each other laugh and see if the ideas we presented felt appropriate for this thing and it was only after week after week and then keeping notes as soon as weâd kind of get something that felt solid like that weâd start to actually write it out and then it was just sort of a process of over time just looking to our experiences that was sort of our credo to make the movie with personal material. So pretty much every element of the script had some basis of an experience that one of us had or had heard about directly or something that affected us. So that was always the well that we kind of drew from. Then it slowly started to build up and weâd have sessions. Wes was kind of the stenographer of the group and he would type things out and weâd start to block it in but basically it was just a long process of slowly hovering over this territory that we felt we knew but weâre trying to find it again.
Q: Did you have a love affair with
Roman Coppola: Not really. Iâd never been there so part of the appeal was a sense of curiosity. What is this place and Iâd traveled a bunch and I thought oh, Iâll see what
Q: Can you guys talk about how the short film germinated and you know creating that?
Wes Anderson: Yeah, well letâs see. First we had the very beginning of the movieâjust the first scenes of the movie where Bill Murray and then Adrien and thenâ¦you know that part of the movie was written. And then I wrote the short sort of separately. Initially not meaning it to be part of that just that it was something else. Then after I kind of had a scene I thought well somewhere along the way I started thinking Jason is going to play the same guy in these and then as we continued to work on the script for the feature movie, we started to link them more and more and more. And before long they sort of depended on each other. They were companion pieces. Then we went ahead and shot the short. When we were maybe halfway through the script of the feature I shot the short and then eventually we had them both. Then I had to figure out well, how do I want to present these? At one point I thought Iâd put the short in front of the movie but then I also felt the opening of the movie had been written as an opening scene. Itâs supposed to be the first thing. You meet Bill Murray. You donât know who he is and then you lose him and you go with Adrienne and you donât know who he is and then you meet the other guy and you donât know who they are and youâre slowly learning whatâs going on in the story. Eventually what I decided was Iâd release the movie by itself. Release the short on iTunes and then at a certain point in the process weâll re-introduce the short into the theatres and add it onto the prints of the movie and then weâll have it on the DVD and itâll come out with the movie in Europe and so on.
Music plays a huge part of your movies. When do you know youâve found the right song for one of your projects?
Wes Anderson: Well, you know the right song is just whatever I think, whatever we think is the right song and for one person itâs the right song and for somebody else maybe itâs the wrong song but you know itâs just all in kind of your instincts. I donât know that I could pinpoint when you know it. But Iâll say this for instance, one the song thatâs in the short was sort of the inspiration for the short. Iâd heard this song and Iâd never heard it before and it made a strong impression on me and I related it to this scene I had in my mind and I kind of wrote it to the music. The 2nd thing was Satyajit Rayâs musicâthe music he wrote for his own moviesâthat while we were writing, I started playing some of that and by the time we were shooting the movie, we had it in our vehicles as we went to the set and we played it everyday. It was like our soundtrack to the making of the movie. Thatâs a couple of examples of that.
Q: Hadnât you originally wanted to use some Beatles tunes?
Wes Anderson: I donât remember that do you? No, not really.
Q: When you say we meaning we decided what the songs were going to be, is that you and Roman, is that you talking to the actor saying hey, what should we put in or how do you determine that?
Wes Anderson: No, not me talking to the actors saying hey, what should we put in? But Jason and Roman and I were collaborators in a more central way than just writers. We were writing together but Roman was the producer of the movie. Roman was on the set everyâ¦unless Roman was shooting something else on the movie, he was on the set and we were all in it together. We spent a lot of time together in the cutting room, etc., so it was a process we went through together. Also, there are other collaborators like our editor, Andy Weissblum or our music supervisor Randy Poster, Jeremy Dawson whoâs another one of our team. You know, thereâs a whole kind of company of people who are all involved in helping to see what else can we do to make it better.
Q: Whatâs really interesting is people think of you as such a visionary film-maker that they would expect that you just came in and said âI want this song, this song and this songâ because your films have such a distinct look, itâs sort of surprising that you would be soâ¦not that you wouldnât be collaborative but so collaborative in what would be in your movies, how do you think that esthetic comes about in such a collaborative way? Is it the people you bring around you?
Wes Anderson: I donât know. What do you think on that one?
Roman Coppola: Well, I mean, I canât speak for the music but for the writing of the text of the story, Wesâ first choice as the author of this movie is I want to bring these 2 guys in and so that decision and choice was the beginning of the story making.
Wes Anderson: Shapes the whole thing. Itâs a bit of casting almost, you know. So we mixed a different voices in the process, I guess.
Q: I would imagine that you wrote 2 of the characters for Owen and for Jason, Iâm not sure if thatâs trueâ¦
Wes Anderson: â¦and Adrien.
Q: And Adrien? Oh, okay. I was wondering where he fit into the mix?
Wes Anderson: Yeah, no we wrote that for him. I had been a fan of his for a long time and that was yeah in fact long before I ever met Adrien I had their names written on a piece of paper. Itâs one of the very first ideas. We had an inspiration in the movie Husbandâs and we had this cast in mind and we knew we were going to go on a train to India and that was sort of like the 1st page of the notebook of you know, what are we going to do next?
Q: I wanted to know if you could tell us where you are right now with The Fantastic Mr. Fox?
Wes Anderson: Yes, well Noah Baumbach and I made a script for it and George Clooney is going to play Mr. Fox and weâre working in
Q: And have youâ¦so the scripts all done and this is definitely the next project?
Wes Anderson: Oh yeah, weâve already started, so yes. The scriptâs done and weâre in full swing over there.
Q: How long will it take you to shoot? Whatâs the estimate?
Wes Anderson: Two years from now is the schedule. Itâs supposed to come out in November of 2009, I believe if I have that right.
Q: So you recently made some AT&T commercials. What attracted you to that project? How did that all come together?
Wes Anderson: Oh, I donât know. Thatâs not really a project. Thatâs a commercial. They just hire you to do a commercial and you try to do your best.
Q: I mean itâs clearly your work and itâs very well done.
Wes Anderson: Well thatâs nice of you to say that. I donât feel that itâs my work though. I feel like itâs theirâ¦you know I meanâ¦I know that when you think somebody else would have done it differently and I can definitely recognize that but it not myâ¦itâs not expressing anything. Thereâs nothing that Iâm dying to say. But we had fun doing those commercials. We had a great time. I liked the people we worked with, but I kind of feel like commercials you know, youâre supposed to be kind of anonymous when you do a commercial and then I feel funny like should I be out there talking about the commercial? The commercial is just supposed to beâ¦I donât exist in that.
Q: That Oasis song in the AT&T commercialsâitâs driving me crazy.
Wes Anderson: I donât know that. What is that?
Q: All around the world, you know?
Q: The American Express commercial is a little more personal though because it was you know?
Wes Anderson: Thatâs different. Basically these people came to me and said write what you want to write. Hereâs a space for you to work in. I worked with my own collaborators in every way and I wrote the thing, I didnât write these other things, I kind of adapted them into something but they had a thing to sell⦠phones I guess? Like Romanâs in the AT&T commercial. Jasonâs in it.
Q: The AmEx commercial.
Q: Is there any moment or some joke or humor or some line from your actual experience?
Wes Anderson: Almost everything comes one way or another from our experience. Pick a part and Iâll tell you if it has a real thing. Say one. Just pick something in the movie and Iâll tell you if it came from real life.
Q: The snake?
Wes Anderson: The snake. Where did we get the snake?
Q: Because I didnât understand why he took that snake. I didnât understand whyâ¦?
Wes Anderson: Why he bought it?
Q: Yes, because it doesnât seem a part of his personality to me.
Wes Anderson: Hmmm. Well, thatâs interesting. Youâre reactionâ¦whatever your reaction is right. Itâs how it felt to you.
Q: So did you do that anywayâwe were asking whatâ¦
Wes Anderson: That was you knowâ¦I meanâ¦the I think that wasâ¦
Roman Coppola: That was a scorpion originally.
Wes Anderson: That was a scorpion originally and itâs about its a little kind of like childish thing. I donât want to name any names but you know a person might travel to a foreign country and want to buy an exotic animal. Itâs notâ¦itâs more expressing more recklessness than interest in this culture or anything else.
Q: So that was nothing that you 3 did which goes back to her question about was there anythingâ¦.?
Wes Anderson: We didnât do that, somebody else did. But it wasnât me.
Q: Youâve directed and worked with a lot of really cool bands in the past like
Roman Coppola: Bands wise?
Q: Yeah.
Roman Coppola: Iâve been a little out of the loop of working with bands right now. I think Coconut Records is an exciting band. Do you know about them?
Q: A little bit. Our music editorâI write for a college publicationâso our music editor says you have to listen to this.
Roman Coppola: See, you have to listen to Coconut Records. I mightâ¦I just spoke with one of the guys from The Artic Monkeys today. Thatâs a possibility, but Iâm not so in tune with music videos right now just because weâve been working on this film for so long.
Q: Can you guys talk about writing in cafes of
Wes Anderson: Well, it ends up sounding like a kind of a â¦like what it wasnât. I mean, we ended upâ¦we started writing in Paris because we all happened to be there together and we all like Paris and feel kind of inspired in Paris but most of the time when we worked in Paris we worked in my apartment. Roman likes to sit on the floor and Jason sits on the sofa and I pace around a lot. Then sometimes we would goâ we gotta get out of the house to reset a little bit and get some air, and then we had one café where weâd go if we were going to talk about what are we trying to figure out about our story and our characters. We had a different café we would go if we wanted to talk about how many days do we want to shoot and who do we want to hire to work in this technical capacityâthe business of making the movie. That way we kept different energies in the different cafes.
Q: Iâm going to bring up the 800 pound gorilla in the room.
Wes Anderson: Donât.
Q: No, I just wanted to ask about his look in the film and coming up with the look and if you could say anything about how heâs doing?
Wes Anderson: Well, I mean the thing is I donât like to talk about how heâs doing because Iâve answered that question 2 billion times and the real story is when Owen speaks for himself. All I can do is repeat myself. The look for the movie, thatâs a part of the â¦thatâs just something we had to imagine and invent for this character thatâs been in this accident. For me itâs fun to kind of create something like that. We had Frances Hannon our make up artist who helped me to design that and it was partly inspired by a guy that I saw in St. Peterâs Basilica in Rome about 3 years ago whoâd clearly been in a bad motorcycle accident and my feeling was this guy had come straight from the hospital to this churchâ¦this sort of spectacular church in Rome. And that was the look he had. He was on the verge of tears as he darted around the place and listened to a priest over here and prayed over there and lit a candle over in another place and I was very caught off-guard by him and I imagined what could have happened to this guy and it seemed like heâd obviously been in a near-death experience and then also I got the feeling that maybe there was somebody else involved and so that was just part of the inspiration for this character was just our kind of imagination of what might be behind somebody like that.