Wes Anderson's "artful homage" in The Grand Budapest Hotel

Originally published at: https://boingboing.net/2020/09/25/wes-andersons-artful-homage-in-the-grand-budapest-hotel.html


This has become one of my top ten favorite movies of all time. I was tempted to post a clip with this, but the idea of ruining even a moment of the film for others makes me ill.


I’m surprised the video left out this scene

which is a direct reference to Bergman’s 1957 film The Seventh Seal, where the personification of Death throws Max von Sydow’s cat into the abyss.


I guess the word “steal” is more provocative and interesting than saying that something was generally inspired by something else. I like seeing Anderson’s visual influences, but I want to slap this reviewer for trying to make more out of them than they are.


I loved this film. Completely without any knowledge of other film references. It stands well on its own.


I felt like there were a whole lotta tips o’ the hat to (and/or thefts from, depending on how we’re positioning these things) Guy Maddin’s Careful!

(EDIT: I fixed the spelling of Maddin).

Torn Curtain is a pretty entertaining movie, flawed a bit by a really stupid physics subplot.

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This guy reminds me of myself writing an essay for a pretentious teacher who I knew would give me an A if I echo their BS style.

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Did you watch the video though? He goes to great lengths to explain why it’s NOT stealing and how Anderson adds his own touches.


Oblivion contains so many references to 2001, A Space Odyssey that I count it as an unofficial sequel.


I was a kid when I last saw Torn Curtain. I didn’t realize until now how much matte painting was used, even in scenes when you’d think they could have built a set for tighter indoor shots. Budget constraints?


An A+ for agreeing that Mubi sponsored video essays are artful homages, too.

should he be less generous?

Hitchcock was a massive control freak, this gave him that little bit of extra control over set details. And while you’d think that Hitchcock at that point would have had a nearly infinite budget, he got into a pissing match with the studio, who made him hire Newman and Andrews for the leads, eating over 20% of his funds.


I’m sure that Hitchcock (once he really hit it big) got a serious chunk of change from the studios, no matter what.

“Once he really hit it big?”

Torn Curtain is from 1966.
And after that, Hitchcock would make make just three more films: Topaz (1969), Frenzy (1972) and Family Plot (1976).

And studios want to make money, not spend money. With the possible exception of salaries and bonuses for the C-suite.

Something that might have been mentioned in the comparison video: no director can create good visuals without a good cinematographer, storyboards or no storyboards.

Torn Curtain: John F. Warren
Grand Budapest Hotel: Robert Yeoman

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See Psycho.

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The budget for Curtain was 5 times that for Psycho. Hitch was at the pinnacle of his fame and power. But he was still no match for Lew Wasserman.

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Yeoman has collaborated with Anderson nine times-- I think the fantastic mr fox is the exception. Those films share a distinctive visual palette and style. Yeoman has also worked on many other films. and you can’t claim with a straight face that the Ghostbusters reboot, or Bridesmaids looks like an Anderson film. The existence of The Fantastic Mr Fox seems to confirm that Andersen can create a movie in the same style without Yeoman’s masterful efforts. (I haven’t seen that film-- does it have the stop motion equivalent of Whip pans?)
Here, Yeoman talks about the collaborative process.

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