Wes Anderson’s Moonrise Kingdom is set to open the 65th Cannes Film festival.  The director recently sat down and answered questions on the Norman Rockwell-type film, and about his debut in the Cannes Film Festival.

Thanks to The Hollywood Reporter for conducting the interview.  Are you excited to see Moonrise Kingdom on May 25?  You can watch the trailer here.

The Hollywood Reporter: So how do you describe what this film is about?
Wes Anderson: I usually avoid answering that, but I think I would have to say it’s a romance between two 12-year-olds in 1965. To me, that’s the center of it.

THR: Why 1965?
Anderson: The truth is I thought I would have this narrator hosting the film. The first paragraph I wrote for him, I just spontaneously wrote, “The year is 1965.” I hadn’t really intended it. It was sort of a spontaneous moment. I do think that the scouts and its Norman Rockwell-type of Americana is sort of part of it. It seems like 1965 is really the end of one kind of America.

THR: The scouts ­— in the movie they’re called the Khaki Scouts — are a big part of the film. Were you a Boy Scout?
Anderson: I gave it a shot. It didn’t really take. I never really was much of a camper. I don’t think I even made it a month. I didn’t get any rank or anything.

THR: Is this an idea you’ve been developing for some time?
Anderson: I’ve been thinking about it for quite a while. For probably eight or 10 years I had it vaguely in mind, but I didn’t know what it was likely to evolve into. I spent about a year working on the script, and I didn’t make very good progress. But then I got some help from Roman Coppola, who’s worked with me before. He really helped me sort it out, and then we had the script in a month, and six weeks later it was completely finished. It started with the idea of a romance between two 12-year-olds, and a lot of the story would take place among children and not really involve the adults. The adult characters sort of came later.

THR: Your two lead actors, Jared Gilman and Kara Hayward, have never appeared in a film before. Was that by design?
Anderson: I didn’t really have much in way of preconceptions of what they ought to be like. My experience with casting children has always been “start early, keep going, keep going, keep going.” Eventually they just appear. We had a number of different kids I kept setting aside for this thing. Most of them became the scout troop. I always knew I didn’t have the one who seemed right for the character until this kid, Jared, appeared. When he read, he was wearing Kareem Abdul-Jabbar-style plastic glasses with a strap around the back of his head. His hair was very long. He couldn’t look like that in the movie, but he was immediately funny, and it was more his interview with the casting director that first grabbed me — his voice and his spirit. The same thing for Kara, the girl. In her audition, she just read so authentically, she really seemed as if she was making up the dialogue herself, and that didn’t happen with any of the other kids I read for anything.

THR: How did you put together the adult cast? You’ve worked with Bill Murray many times before, but Edward Norton and Bruce Willis are new to your films.
Anderson: I had wanted to have Bill Murray and Fran McDormand together. That was something I had very early on. Why Bill agreed to do it, I don’t know. But I always have such a good time with him, and I’ve always loved what he did for my movies. I’m just lucky enough that so far, he doesn’t pass on them. Edward Norton is someone I’d been talking with for some years. Edward definitely does seem as if he could have posed for Norman Rockwell. And as for Bruce Willis, his character is not what you’d normally associate with him, but he is a policeman, so you just know he’s going to be an authentic policeman. It seemed like he might kind of ground the whole thing.

THR: The opening of the movie reminded me of your animated film Fantastic Mr. Fox. Did the design of that movie carry over into this one?
Anderson: I think it did. On Fantastic Mr. Fox, I got used to working with animated storyboards as a way of planning for the shoot. We did a lot of sequences that way with this movie. Partly as a result of that, I decided to build more sets in order to do certain shots. The interior of the Bishop family house is a set. In the past, I always would have used locations. But we modeled the interior of the house on five different houses in different parts of the country. We mixed them all together as if it were one thing. The rooms were laid out completely horizontally. It’s not really suited for living. It’s really suited for a dolly track.

THR: This is your first visit to Cannes. Are you feeling any pressure about being selected as the opening-night film?
Anderson: No, I feel quite honored. As much it’s about opening night, it’s about being invited to be in competition. That was great news because the whole plan for the movie’s release was based on starting it in Cannes. And I don’t really have to do anything. As far as I’m told I have to walk up the staircase and then sit and watch the movie. I don’t have to give a speech. So it’s not like we’re putting on a play. I more or less know how the movie’s going to go. I don’t know what everyone’s going to think of it, but there’s nothing I can do about that anyway.

When it doubt, look to Harry Potter. At least, that’s what Marvel and Sony are planning for the latest Spider-Man reboot.

When Tom Holland showed up in Captain America: Civil War as Spider-Man, fans were obviously hesitant to throw too much weight behind his version of Peter Parker. The webslinger had been seen at the forefront of a blockbuster movie twice in the past couple decades, and even the biggest Spidey fans were wary of yet another incarnation.

But Holland swung himself right into our hearts with his charm and enthusiasm, both on screen and off. The cast took him under their wings and fans were soon to follow. So, when it was announced that he’d be starring in another solo Spider-Man film, titled Homecoming, the response was optimistic.

There are a lot of things Marvel and Sony are doing differently for Homecoming, not least of which is actually working together. Peter is also much younger than we’ve seen him in the past, and his story will focus as much on his time in school as his time fighting bad guys.

spider-man homecoming logo

In fact, the school year may even help structure Homecoming and subsequent Spider-Man solo films. Speaking to Collider, Kevin Feige even said they may take a leaf out of Harry Potter’s book:

“Should we be able to make more after [Homecoming]? Sure. This is sophomore year, is the next one junior year? Is the next one senior year? Is there a summer break between each of those? I don’t know what, but it was sort of how do we do a journey for Peter not dissimilar for what the students of Hogwarts would go through each of their years, which was one of the early ideas we had for the movies.”

This structure allows for a consistent progression of time for both the characters and the world. We’ll say goodbye to Peter at the end of the school year, but welcome him back again at the beginning of the next. It allows for changes to take place over the summer, for new threats to materialize, and for the story to stretch its legs and develop over the course of nine months, rather than a few short days.

But first we have to see if Spider-Man: Homecoming will be the hit both Marvel and Sony are hoping it’ll be.

How are you feeling about the current developments regarding ‘Spider-Man: Homecoming’?

Netflix has passed on picking up Agent Carter for a third season, and now they’re explaining why.

The cancellation of Agent Carter sent shock waves through the Marvel fandom. We get so few female-led properties in the superhero world, and Peggy was unapologetically kickass on every level. When ABC didn’t renew the show for another season, fans immediately started pitching to Netflix, hoping they would give the S.H.I.E.L.D. founder a new life.

Alas, it wasn’t to be so. In an interview with EW, Netflix Chief Content Officer Ted Sarandos explains why they decided to pass on the opportunity.

The first reason was because they’re looking for “truly original brands to own.” Netflix, as you probably know, already has a pretty clear corner on that market with Daredevil and Jessica Jones, both of which have been wildly popular, as well as their upcoming series Luke Cage and Iron Fist, all four of which will eventually merge into an Avengers-esque crossover series called Defenders. Plus, the Punisher is getting his own series, too.

ABC had already owned and put out two season of Agent Carter, which means, creatively, Netflix couldn’t take over the show and make it their own. They would have to honor what came before and make sure it had the same look and feel. Considering how wildly popular their original series have been (for reference, check out the current buzz about Stranger Things), it’s understandable that they’d rather focus on something they can build from the ground up.

The second reason why Netflix passed on Agent Carter is a bit more technical in that the streaming service likes to release its original content globally, something that would be difficult, if not impossible, due to Agent Carter’s current international restrictions. As Sarandos says, passing up on Agent Carter was “a business decision more than a creative one.”

But neither of those reasons make the situation any better for fans of the character and her solo show. While Netflix would’ve been an ideal place to watch Peggy’s next great adventure, we’ll have to hope the showrunners and Hayley Atwell can swing something else instead.

Are you disappointed Netflix isn’t picking up ‘Agent Carter’?

New Snapchat teasers for AHS season 6 reveal a bit more about the cryptic installment. Well, sort of.

Blink and you’ll miss the new season 6 teasers for AHS. Coming to FX September 14, the hit anthology has gone well out of its way to keep the buzz surrounding the series almost non-existent.

New teasers from Snapchat brought about clues regarding the location, another bit of support for Ryan Murphy’s teaser that more children will be involved, and, of course, a creepy staircase. You can watch the compiled clips below thanks to the magic of Tumblr.


We have a farm house! A creepy mobile with an even creepier hand! And some people grabbing at ankles from under a stairwell! Where would a horror show be without those? (I’ll be honest I jumped at the hand in the crib. I’m not immune to the horror that AHS is capable of achieving!)

So, what can we make of all this? Not much, but we are going to try.

In the last teaser, released at the FX Exhibition at Comic Con, we were able to see a steel building within which fans got to immerse themselves in the AHS Fearless VR teaser that placed them on a stretcher and wheeled them through a creepy lab filled with fetuses in jars. All that was reminiscent of past seasons where doctor’s experiments led to some rather terrifying results. Perhaps this is the thread that ties the entire series together.

Keeping that idea rolling, we now have a greenish monster hand taking a knife from a child’s crib. I’m hoping that the “monster” figure only appears in teaser form, much like some of the past years where the content in the trailers never appeared on screen.


The most impressive and highly intriguing trailer is the farm house with the smoke creating the mysterious question mark/number six that has come to define the season thus far. Farm houses are terrifying enough, if that is what the setting is meant to signify, but mix in a basement of horrors and you have my attention, AHS.

Personally, I am loving the slow burn of information for season 6. In the past, casting announcements dominated the news cycle and 13 to 14 teasers per season was overkill. Keeping the audience at arms length is doing a great deal more to subvert expectations, which the show needs after two, arguably three, lack luster seasons.

AHS season 6 premieres Wednesday, September 14 at 10:00 p.m. ET on FX.