He grew up in Houston, Texas his father worked in advertising and his mother sold real estate. The New Yorker is something Wes Anderson likes immensely. The magazine in The French Dispatch is modelled on The New Yorker, right down to the typeface the film ends with a list of contributors’ names that is both a tribute and a reading list.
The unifying factor is that these are all things Wes Anderson likes.īill Murray plays editor Arthur Howitzer jnr in The French Dispatch.
This is about imaginative memory, where nothing stands out as anachronistic because everything fits the vision. We’re in a time before Post-it notes, presumably, but it doesn’t have to be specific. The desk where Bill Murray sits as the editor of The French Dispatch, Arthur Howitzer, jnr, is placed next to a board covered in file cards attached with pins. The stuff includes pre-war leather camera cases and a foghorn so ancient it may hail from the previous war, a transistor radio from the ’60s, a salt shaker with a dachshund’s head that could come from the ’30s. I want to call this memorabilia, but it isn’t remembered: this is stuff from a film completed less than two years ago, after all. Tilda Swinton at the lecturn in The French Dispatch. There is a full-scale newsstand straight from Godard’s Breathless (1960) and a few costumes: a red suit worn by Frances McDormand as a hard-nosed news reporter mixing it with the young revolutionaries of 1968 the chiffon gown in which Tilda Swinton’s absurdly coiffed art critic delivers her lectures. Right now, an enterprising gallery space on The Strand in London is capitalising on the love for Wes Anderson’s latest film, The French Dispatch, with an exhibition of – well, what exactly? There are meticulously executed miniature sets, including the printing press that churns out the eponymous magazine. Normal text size Larger text size Very large text size
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