The French Dispatch brings to life a collection of stories from the final issue of an American magazine published in a fictional 20th-century French city. It stars Bill Murray, Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Stephen Park, and Owen Wilson.
Wesley Wales Anderson is an American director, writer, and producer of features, short films and commercials. He was nominated for a 2001 Academy Award for Best Original Screenplay for The Royal Tenenbaums.
vazda mi još samo iz kuhinje nije izašao - simpatičan je ves anderson, priznaćemo mu to. užasno me umara čitanje scenarija, zamislite pisanje tek; za mubi notebook je dao jedan lep intervju, kome se čita nek mi piše da skeniram!
One of my all time favorite movies, by one of my all time favorite directors. Anderson's ability to tell stories and his aesthetic approach to making films is what gets me every time!
In screenwriting, there is a common wisdom that 1 page = 1 minute of screentime. Obviously, exceptions are found more often than not, usually in the direction of underestimation. Todd Field included in his very spartan screenplay, “Based on this script’s page count, it would be reasonable to assume that the total running time for TÁR will be well under two hours. However, this will not be a reasonable film.” The French Dispatch is interesting, because it’s the first time I’ve seen it the other way around — the film itself is a reasonable length, under two hours, but the script clocks in at over 130 pages! This can be attributed to how visually dense the film is, and the script makes that very clear. The film, while not my favorite of Anderson’s is delightful to watch, but there really isn’t much point to reading the script because everything is as he imagined it. I found myself skimming over dense paragraphs of detailed description, because I knew that everything was exactly as it appears in its final version onscreen. The one detail that’s interestingly omitted is whether characters are speaking French or English — for such a bilingual film, I wonder how they handled the logistics there. Though I liked the film, I’m not sure how much I learned about it from reading this, let alone about the craft of screenwriting, and as there are very few supplemental notes on the production, I would say skip this unless it is of value to you as a collector’s item.
“ Impossible to fact-check. He changes all the names and only writes about hobos, pimps, and junkies. These are his people”. -Wes Anderson, The French Dispatch
Introduction: Wes Anderson's The French Dispatch takes readers on a whimsical journey through the pages of an imaginary magazine set in the fictional French town of Ennui-sur-Blasé. Known for his distinctive visual style and idiosyncratic storytelling, Anderson brings his signature charm to the written word, weaving together a collection of quirky tales that explore the human condition with wit and panache. The book is a delightful homage to the world of journalism, dedicated to real writers, particularly those from The New Yorker, whom Anderson admired. Filled with endearing characters, vivid descriptions, and a narrative structure that captures the essence of Anderson's artistic vision, it is a testament to the power of storytelling.
“ All artists sell their work. It’s what makes you an artist, selling it. If you don’t wish to sell it, don’t paint it”. -Wes Anderson, The French Dispatch
Summary: The overarching story opens after the death of Aurthur Howitzer Jr., the founder of The French Dispatch of The Liberty, Kansas Evening Sun, an American magazine based in a fictional French city called Ennui-sur-Blasé. Beginning with a short bike-led tour of the city of Ennui-sur-Blasé called “The Cycling Journalist”, the book acts as a collection of The French Dispatch’s best stories published in the magazine’s final issue. A different journalist writes each story and explores various aspects of life and culture in the city.
"The Concrete Masterpiece": This story revolves around an imprisoned artist named Moses Rosenthaler, who creates intricate and mesmerizing murals on the walls of his cell. The tale follows his journey from obscurity to artistic acclaim and his work's impact on the art world.
"Revisions to a Manifesto": This story centers on student protests and political unrest in Ennui-sur-Blasé during the 1960s. It explores the clash between the young revolutionaries and the establishment, highlighting their ideologies, motivations, and the consequences of their actions.
"The Private Dining Room of the Police Commissioner": Here, the narrative focuses on the gastronomic delights of Ennui-sur-Blasé, specifically the legendary police commissioner's private dining room. It delves into the culinary world, examining the intricacies of the meals prepared and the significance of the rituals associated with dining.
These stories, presented within the book's framework, showcase Wes Anderson's signature storytelling style, characterized by quirky characters, whimsical settings, and meticulous attention to detail. Through these interconnected narratives, "The French Dispatch" offers a multi-faceted exploration of art, politics, cuisine, and journalism in the charmingly eccentric world of Ennui-sur-Blasé.
Character: While The French Dispatch lacks a singular central character, the ensemble cast of the magazine's staff provides a fascinating mosaic of personalities. Each character, including the newspaper founder Author Howitzer Jr., brings their unique quirks and idiosyncrasies to the table, contributing to the overall charm and depth of the book. From the stoic and introspective editor-in-chief to the resourceful and fiercely determined journalist, and the naive but passionate young writer, Anderson crafts a cast of characters that are simultaneously relatable and eccentric. Through their interactions and personal journeys, the reader gains insight into the complexities and contradictions of the human spirit.
“ People may or may not be threatened by your anger, your hatred, your pride. But love the wrong way, and you will find yourself in great jeopardy”. -Wes Anderson, The French Dispatch
Author: Wes Anderson's distinct style permeates every page of The French Dispatch. His penchant for meticulous visual details and carefully composed shots translates seamlessly into his writing, creating vivid and evocative descriptions. Anderson's voice shines through the narrative, marked by dry wit, whimsical humor, and an affectionate portrayal of human foibles. His characters speak in quirky dialogue, peppered with offbeat observations and offhand remarks that reveal their idiosyncrasies.
Anderson's personal life and experiences undoubtedly influence his storytelling. Known for his meticulous attention to detail and his penchant for visual storytelling, he brings a unique narrative voice to the world of literature. His fascination with human oddities and the nuances of interpersonal relationships is evident in The French Dispatch, as he explores the depths of human emotions and the complexities of human connection. By dedicating each journalist and story to real journalists, especially those associated with The New Yorker, Anderson pays tribute to their influence on his creative journey.
“ Seeking something missing, missing something left behind. Maybe with good luck, we’ll find what eluded us in the places we once called home”. -Wes Anderson, The French Dispatch
Conclusion: In The French Dispatch, Wes Anderson ventures into the realm of literature with resounding success. With his distinct style and voice, he creates a whimsical and endearing collection of stories that celebrate the beauty and eccentricity of the human spirit. The book is a delightful read, combining Anderson's trademark visual aesthetics with his keen understanding of human nature. I recommend this read to fans of Anderson's films as they will find themselves immersed in a world that feels both familiar and fresh, while newcomers to his work should first watch Anderson’s films. In conclusion, The French Dispatch is a delightful ode to the power of storytelling, a testament to the profound impact that human connection and shared experiences can have on our lives.
Because lots of the intrigue of the movie comes from the visuals, where the actual dialogue seems to be an afterthought, the screenplay is a tedious read at best. Just watch the movie.
It took me way too long to get through this as my discipline with reading has been very down and in opposition to my desire to want to read more. Regardless, I’m sorta proud I finished this cause it means I read it.
I saw this movie a while back, before I fully became a fan of Wes Anderson as a filmmaker, and I retained very little of it besides from “huh, interesting but weird.” It needs a rewatch now that I finished the screenplay book.
With that in mind, reading the screenplay for this film really cemented a newfound appreciation for Wes Anderson’s writing as a separate entity to his filmmaking. Action lines are written with such gorgeous and descriptive prose, painting vivid mental pictures of the words on the page. The one section greatly improved for me from just reading the luscious descriptors was the Owen Wilson Biking section.
I think Wes Anderson’s attention to detail is another big plus of reading the screenplay. He tells you the exact layout of a room, or what an innocuous background character is doing, or the specific type of pen and paper a character writes with. It’s so fascinating to me just seeing how his mind works and accepting these seemingly irrelevant little details at face value and continuing forth.
The French Dispatch is a great script and a fascinating read, as Wes Anderson uses his words to paint pictures of artist and their craft.
I am admittedly not familiar with reading screenplays/scripts as opposed to theatre plays, so this was quite difficult to adjust to and seemed unnecessarily over-described. But maybe that's the style.
There was one good, memorable paragraph that struck me in the whole thing, and it was in the last 10 pages.
Whether this much detail is put into screenplays or not, the entire time I was thinking "Wes Anderson is a film genius but he must be absolutely insufferable to talk to. This reads like the manifesto of a pompous self-indulgent ass."
would probably be a 4.5 in actuality! the movie is 5 stars to me but the reading experience of this was more like a 4. still very beloved though. (it's hard to consider one without the other). i got this book at the exhibition in london and it's nice to finally read it! dvd release soon please mr anderson...
As always, Wes Anderson’s works are amazing. This is my first time reading a real film screenplay, even more fascinating that I read this book after I watched the film, so I knew exactly “Oh, this is that scene!”.
It’s pretty amazing how well they stuck to the script, scene for scene line for line. Also great to be able to see what was really said in the film that may have been hard to decipher.