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CANNES, France – In Wes Anderson's "Moonrise Kingdom," the famously meticulousdirector takes his fastidiously fashioned world and flings it intothe woods. Even a relatively loose Anderson film is more ornately composedthan most dollhouses, so no one should expect cinema verite in hislatest fable. But there is — gasp! — actual handheldcamera work in "Moonrise Kingdom," a story of pre-adolescent loveon a rustic New England island. For Anderson, whose previous film was the animated "The FantasticMr. Fox," it's a welcome return to the vagaries of live-actionfilmmaking. "It was nice to have the sort of lack of control that you get onthe set," Anderson said in a seaside interview in Cannes, where"Moonrise" opened the prestigious film festival before releasing intheaters May 25. "It's nice to go on location with a group. That'ssomething I kind of missed." "Your year takes a certain shape when you're making a movie," headded. "I like that." Making "Moonrise Kingdom" was essentially sleep-away camp forAnderson's usual troupe of actors (Bill Murray, Jason Schwartzman),as well as a few new inductees (Bruce Willis, Tilda Swinton, EdwardNorton, Frances McDormand). Shot on an island in Narragansett Bay, Rhode Island, the film isabout a 12-year-old orphan (Jared Gilman) who runs away from hisscout troupe — the Boy Scout-like Khaki Scouts, whose leaderis played by Norton — with his young love (Kara Hayward), themelancholy daughter of a local family (Murray, McDormand). Set in1965, it's a more innocent, quaint America. While Anderson's movies — "Rushmore," 'The Royal Tenenbaums"— have often had a childlike sense of whimsy, "MoonlightKingdom" is almost entirely from the perspective of the children.It started for Anderson with his own memory of first love, amysterious new feeling he didn't act on, unlike his youngprotagonist. "It's a memory of an emotion, but kind of a memory of a fantasy aswell," says Anderson. "Everything that happens in the story is whatdidn't happen to me." But there are many elements of Anderson's own experience in thefilm, too. Like Hayward's character, he found a parental guide to"troubled" children atop his refrigerator, terrified and ashamed toknow it applied to him. Anderson has, naturally, stocked the film full of carefully chosenaccoutrements, like faux children's books with covers specificallydesigned by various contributors. But when the two kids set offinto the wilderness, a more natural environment fills the screen. Roman Coppola co-wrote the script with Anderson, helped tease outthe story from a long-gesticulating concept of Anderson's, whichhad amounted to just 15 pages of material and some fragments.Coppola, who also co-wrote Anderson's India-set "The DarjeelingLimited," believes the director is increasingly looking for chaoticenvironments for drama. "If you look at his desk, everything will be lined up in perfectrows, so there's something in his personality that's drawn to thatsense of symmetry and order — it's somewhat who he is," saysCoppola. "But I think recently, when I worked with him on'Darjeeling' and this film, that he's drawn to situations andsettings that have disorder just automatically." Anderson says he often begins a film with only a small shred of anidea, like "Royal Tenenbaums," which started with just the image ofa girl exiting a bus, and an unrelated scene of a meltdown on atennis court. Such scant beginnings are all the more remarkable forthe deeply layered finished films: "Tenenbaums" became a fullportrait of an intellectual New York family a la "The MagnificentAmbersons." "It always feels like the story exists somewhere and you're justdiscovering it," says Anderson. He recently finished a new script— one "particularly unrelated" to "Moonrise," he says —with unusual speed. It began from researching a real-life characterthat has little to do with the finished story. While Anderson's films have often revolved around a clash ofinnocence with a cynical world, "Moonrise Kingdom" is his moststark dichotomy of adults and children. In the film, the grown-upsreact variously to the children's gambit, with a chance forredemption for Willis' police officer. "His adults are always kind of wrangling disappointment," saidSwinton, who plays a bureaucrat simply called "Social Services," ina news conference at Cannes. "And this film, I think maybe morethan any other film, the adults are the disappointed ones and thechildren, they've got the grail." Schwartzman, a frequent collaborator with Anderson since "Rushmore"who considers the director his mentor, thinks his films are gettingslightly deconstructed. "I feel like Wes in each movie is examining, in a more intense way,an aspect of something that's in his own body and world," saysSchwartzman. "And I think in other movies he's examined or playedaround with the idea of young feelings of love and feeling stuck orconfused." The wisdom of one of Anderson's characters comes to mind: GeneHackman's rascal Royal Tenenbaum, who implored, with a glint in hiseye: "I'm talking about taking it out and chopping it up.". I am an expert from exhibition-boothdisplay.com, while we provides the quality product, such as Modular Trade Show Booth , China Exhibition Booth Display, Modular Trade Show Booth,and more.
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