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The Objects Wes Anderson Hoards in His New York Office
The Objects Wes Anderson Hoards in His New York Office,An afternoon with the ‘Asteroid City’ director in an apartment he describes as “not very well maintained” and “a bit abandoned.”

The Objects Wes Anderson Hoards in His New York Office

Wes Anderson doesn’t want to talk about Asteroid City. It’s a weekday afternoon. We’re in the New York office of his production company, American Empirical Pictures, in the East Village. He’s been wearing a seersucker suit since morning. He wore a tux to the Cannes premiere and a black suit to the New York premiere at Alice Tully Hall in Lincoln Center. There will be more events and interviews over the next several days, and he’s talked about the film with a lot of people, including me. He worries that he’s covered everything. “Maybe we can talk about something else?” he asks.

That’s okay by me. I’ve known Wes for 30 years. We met when he was a recent graduate of UT Austin who had made one short film and I was a journalist writing for a Dallas alternative weekly. Today, Wes offers me bottled water from the refrigerator and pours it into a glass with ice. He asks if I’ve ever been in this space before. I have not. “Why don’t I just select things and talk about them, and you can take a picture if it’s of interest?” he says. And off we go.

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An Irrelevant Set of the Encyclopædia Britannica







A shelving unit containing bound editions of all the New Yorkers Anderson has collected and (in boxes) puppets from his animated films.Photo: Matt Zoller Seitz

I’ve done several books about Anderson’s filmography since I recommended the Mitchell collection to him, and while he has always been forthcoming about his inspirations and the details of his productions, he has grown guarded when it comes to explaining what you might call his “primal motifs.” Today I try to come back around to Asteroid City, a movie that’s full of them. It’s built around a widowed single father, played by Jason Schwartzman, who rose to fame in Anderson’s Rushmore playing a motherless son raised by a single father.

“You’ve got a lot of widows and widowers in your movies, and orphans,” I say.

“Yeah,” he says, “I probably do.”

“Why?”

Wes grins. “Don’t you remember Roebuck Wright?” he says, invoking the reporter played by Jeffrey Wright in The French Dispatch, who sits for a career-spanning interview with a talk-show host. “‘Never ask a man why.’”

Thank you for subscribing and supporting our journalism. If you prefer to read in print, you can also find this article in the July 3, 2023, issue of New York Magazine.

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