The Royal Tenenbaums

Wes Anderson is among the few living directors -- perhaps even the only one but I've not checked -- who has a lifetime pass to the Criterion Collection, by which I mean whatever cryptic criteria Criterion uses to decide what's in and what's out, Wes slides through those doors. His latest (2014's Grand Budapest Hotel) is his only film not in the collection, and I'm sure it will be by the time we're done with this project.

This week, though, we're talking about his 2001 film The Royal Tenenbaums, which is all sorts of wonderful. We get to talk a bit about some of those sorts with our dear friends Casey and Jonathan Hape. Long time listeners will remember that they joined us for our last Anderson outing; listeners who stick around till the end of any episode may know that Jonathan wrote our theme music. There's too much to get into for an hour long show, and even pushing 1:05 we miss quite a bit, but we had fun. Thanks for joining us, Casey and Jonathan! And thanks for listening, you listeners!


So Pat was in the US a few months ago, and it happened that our recording schedule (we were working pretty far ahead at the time) brought us Rushmore. Like Indie music, the works of Wes Anderson hit the right notes for folks like us, so we got some friends together for a bit of a party and a discussion of a movie some of us love a lot more than others.

We've got Donovan Hill returning once again, love of my life Amanda Morant with affected British accent action, Jonathan Hape making his first appearance outside the theme music, and his wife Casey Hape who's one smart cookie we're glad to have. Also, Pat's son makes a brief appearance, but adds nothing of value to the conversation. A good group of people and I wish more of them would come around for more episodes. This is one of our truest round-table discussions, probably helped by the fact that we were actually sitting around a round table.