"…while a PG-rated stop-motion film based on a childrens’ story is definitely a departure for the filmmaker, Fantastic Mr. Fox is still completely and wholly a Wes Anderson film. Like his other films, there is a color palette here: this one features mustard yellow, candy apple red, and hen brown—with textures of animal fur and gray tweed and corduroy.
What is it in Wes Anderson’s heart that is so old ? Clint Eastwood is a 138-year-old man and he has made films that are more relevant to these times than Anderson. Can you imagine an Xbox Kinect in a Wes Anderson film? Maybe in the year 2050. Can you imagine if, in The Royal Tenenbaums, Richie Tenenbaum told Eli Cash that he’s in love with his own sister via text message? Or if Raleigh St. Clair updated his Facebook status to “You’ve made a cuckold of me”. What if Rushmore’s Harold Blume had made his fortune in bluetooth headsets? Even now, as I try to imagine the most technologically-advanced item in any Wes Anderson film, it may be the radio transmitter Steve Zissou has implanted in the diving helmets in The Life Aquatic, or possibly the laminator Francis’s bald assistant Brendan must own in The Darjeeling Limited.
I happened upon Rushmore airing abridged on the USA network during the summer vacation between 7th and 8th grade, a secretly strange adolescent who kept an outfit diary, practiced new handwriting styles for the forthcoming school year, and had an eleven step plan to achieving popularity, implemented with occasional success at the baker’s dozen or so schools that I attended. Would I have eventually seen Rushmore, some night in a freshman dormitory? Probably so. But instead I saw it precisely at an age of infinite impression, and it undoubtedly affected me. I started nearly-exclusively wearing men’s ties, polyester from yard sales, glitter eye shadow, and ancient coats that were either much too small or far too big for me. They smelled like damp, aged basements. I collected records for years, heaved them around from place to place in U.S. Postal Service mail bins, reinforced with heavy wire. I’d have nothing to play them on for five years.
Wes Anderson’s movies just feel right to me, filled with the kind of detail for an archetype, a decade, a side table, or a shirt collar that fellow obsessives can surely appreciate.”
—Bebe Ballroom, on Wes Anderson and Fantastic Mr. Fox ("I’m Trying to Tell You The Truth About Myself", Bright Wall/Dark Room, Issue #11)