- TIMOTHEE CHALAMET FRENCH DISPATCH INTERVIEW HOW TO
- TIMOTHEE CHALAMET FRENCH DISPATCH INTERVIEW CRACKED
Additionally, he trades previous forays in stop-motion animation for an extended 2D animated chase scene, and even briefly swaps his prototypically stationary, symmetrical camerawork for a dinner table sequence in which the camera slowly revolves around the seated characters, creating a novel and striking dimensionality to his cinematography. Here, he challenges himself to a far more intricate means of storytelling, which is occasionally convoluted but fosters an eagerness to return to the film-to revisit and discover something new.
TIMOTHEE CHALAMET FRENCH DISPATCH INTERVIEW HOW TO
Frequently rebuked by naysayers for his commitment to his finely-tuned, “quirky” filmmaking style, The French Dispatch proves he is more interested than anything in how to play around with the medium of film and find new ways to tell his stories. And Roebuck Wright’s (Jeffrey Wright) “The Private Dining Room of the Police Commissioner” tracks Wright first as he gives a television interview on his illustrious career, then focuses on the profiling of a famous chef (Steve Park) which turns into something much more.Īnderson remains a creative force to be reckoned with. “Revisions to a Manifesto”-written by Lucinda Krementz (Frances McDormand)-centers on writer and student revolutionary Zeffirelli (Timothée Chalamet), who becomes sexually involved with Krementz while she’s writing the profile on him. For J.K.L Berensen’s (Tilda Swinton) article “The Concrete Masterpiece,” Benicio del Toro plays maximum security prisoner and gifted artist Moses Rosenthaler, whose nude paintings of prison guard Simone (Léa Seydoux) catch the eye of fellow prisoner and art dealer Julien Cadazio (Adrien Brody).
As was the case with 2014’s The Grand Budapest Hotel, The French Dispatch is a story within a story-or, in this case, multiple stories within a story, and there are stories within those stories as well.īecause of this, the film can be difficult to follow on a first go, and writer/director Wes Anderson flings so much rapidfire information at you as if to playfully one-up his past self. The articles are titled “The Concrete Masterpiece” in the Arts & Artists section, “Revisions to a Manifesto” in the Politics & Poetry section, and “The Private Dining Room of the Police Commissioner” in the Tastes & Smells section, interspersed with narration from Anjelica Huston, one of the many frequent Anderson collaborators that proliferate the film.
Through the framework of a real journal, the film is divided into four segments: An obituary (for Howitzer), a tour guide (via Wilson’s Sazerac) and three feature articles. The French Dispatch plays out as a visualization of this final issue. Per his final wishes, upon Howitzer’s death, the publication is to be terminated along with him. The French Dispatch-the publication-is a mid-20th century American outpost based in Ennui-sur-Blasé and founded by Kansas native Howitzer. What began, Sazerac describes, as “a cluster of tradesmen’s villages” now sees only its names remain unchanged, as even places like the aptly-dubbed “Pickpocket Cul-De-Sac” have had their edges smoothed out.
TIMOTHEE CHALAMET FRENCH DISPATCH INTERVIEW CRACKED
The grimy alleys, cracked cobblestones, worn cement and havens for less-than-savory types have been gussied up in favor of the more aesthetically pleasing future. As Owen Wilson’s cycling reporter, Herbsaint Sazerac, guides the audience through the charming city streets of fictional Ennui-sur-Blasé, France, he remarks on all that has changed. In many ways, The French Dispatch-the film-has already answered this question: What happens next is that the future barrels onward in spite of, and in defiance of, the past. (Bill Murray) who passed away suddenly from a heart attack. The writers of The French Dispatch wonder aloud “What happens next?” This immediately follows the death of their esteemed editor-in-chief, Arthur Howitzer Jr.
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