Oct 7, 2026 · 37 min · 10 segments
We finally discuss "The Grand Budapest Hotel", one of our favorite films and most likely Wes Anderson's greatest achievement. Some of what we discuss: Ralph Fiennes amazing performance; how Wes…
Leonardo MirandaHostTomás FerreiraHostMiguel AidoHostundeniable you know I think it's such a solid script, like, with so many funny lines.
But yeah, I mean, so many characters that are interesting and are well-developed and just are visually strong, you know, where you almost don't need to see them fully develop and fully, you know, just see them throughout the film.
You don't need a lot of shots of Willem Dafoe and of Adrian Brody to just be compelled by them.
You know, I think for me, the character's first appeal starts at the visual side, the costumes, the way they're introduced sometimes with, you know, extreme close-ups and just everything.
There's a magic in the way that the characters are brought forth in this film that I don't think we see in the Royal Tenenbaums, for example, you know.
Just sometimes in the very way that they're just introduced through the camera angles.
But then just visually everything that, you know, the costumes and the little props that they have, like the knuckle thing that Willem Dafoe's character has.
I mean, just like to start at the beginning, like the way it sets up like this, so almost an anticipation into the hotel itself at the way it used to be.
Like we start first with a writer telling the story that somebody else told them, basically.
A fan of the writer going to the cemetery to see the bust of the writer, opens the book, goes inside the story, the interview of a writer from the 80s.
undeniable you know I think it's such a solid script, like, with so many funny lines.
But yeah, I mean, so many characters that are interesting and are well-developed and just are visually strong, you know, where you almost don't need to see them fully develop and fully, you know, just see them throughout the film.
You don't need a lot of shots of Willem Dafoe and of Adrian Brody to just be compelled by them.
You know, I think for me, the character's first appeal starts at the visual side, the costumes, the way they're introduced sometimes with, you know, extreme close-ups and just everything.
There's a magic in the way that the characters are brought forth in this film that I don't think we see in the Royal Tenenbaums, for example, you know.
Just sometimes in the very way that they're just introduced through the camera angles.
But then just visually everything that, you know, the costumes and the little props that they have, like the knuckle thing that Willem Dafoe's character has.
I mean, just like to start at the beginning, like the way it sets up like this, so almost an anticipation into the hotel itself at the way it used to be.
Like we start first with a writer telling the story that somebody else told them, basically.
A fan of the writer going to the cemetery to see the bust of the writer, opens the book, goes inside the story, the interview of a writer from the 80s.
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