55. Wes Anderson
RUSHMORE, THE ROYAL TENENBAUMS, BOTTLE ROCKET, THE FANTASTIC MR. FOX
In his own way, one of the most divisive filmmakers around, Wes Anderson’s films have a signature style that is a clear extension of his personality. Perfectly balanced frames, wardrobes that play more like costumes, troubled characters masking their pain with disaffection – it’s always seemed like Anderson might have developed the stories for films like Rushmore, The Royal Tenenbaums, and The Life Aquatic by making paper figurines for characters and acting them out on the rug of his bedroom – which is why for many (even some detractors), his foray into stop-motion animation with The Fantastic Mr. Fox seemed like a natural extension of his sensibilities. And while it’s fair to say his films wear their themes on their sleeves, it’s unjust to assume his characters –and the things they’re going through – are simplistic. Anderson builds his films like the cross-section of Steve Zissou’s ship, with an expansive layout and intricate details whose charms don’t always fully register on the first viewing.
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