By TAYLOR VAN ARSDALE is a writer/producer and movie reviewer for the Daily Press. She can be reached at Tailfish@roadrunner.com hard to swallow — but I’m going along with it because I’m smitten by Brody.
Brody hasn’t strayed away from doing independent movies “just because I have opportunities now to not do independent movies.” He wants to continue along the path of what inspired him along the way. He’s very open-minded, looking for challenging and stimulating roles but admits it’s a balancing act “finding movies that people see” that are also, “inspirational and allow growth.” To Brody it’s more about the quality of work and the process. Alas, Brody’s interview is over too quickly and Anderson returns with Coppola (co-writer of “Darjeerling” and a well-established music video director in his own right).
Roman cuts an impressive figure with his shock of thick black hair and expensive tweed suit, and as I predicted Anderson is more relaxed and animated with his friend in tow but not much. As Anderson describes being in Shimla, walking around on the trees where he and Coppola first discussed bringing Bill Murray on board, I’m drawn to Coppola’s twitchy wrist. He’s sporting a Mickey Mouse watch and is struggling, almost painfully, to keep it hidden under the cuff of his suit jacket. The two of them seem so ill at ease it’s hard not to get caught up in their tension. Where’s Brody? Can someone please bring back Brody?
I ask both Anderson (and Schwartzman) to tell me something funny that happened to them during their travels while they were writing the project that didn’t make it into the film — Anderson tells me about the time they wandered around Old Dehli, ended up in a Sikh temple at 2 a.m. and participated in a religious service they didn’t understand (this scene did make it in), Schwartzman strategically avoids the subject. It seems no one wants to deviate from the information in the press kit or they’re waiting for the release of the behind-the-scenes Barry Braverman documentary (which will be a part of the DVD).
To his credit, and much to my surprise, Anderson apologizes to another reporter for responding irritably to a question that has been asked about Natalie Portman’s nude scene. I can tell he’s being protective of his actors, not wanting to misrepresent them in any way and is genuinely grateful for their work on “Darjeerling.” As I meet and speak with the cast members I get a wholly different picture of the eccentric director. His colleagues love him, describing him as someone who provides a safe, nurturing and creative work environment.
The topic of Owen Wilson is carefully and gracefully avoided. Only the gal from “People Magazine” asks about him and then it’s only in reference to what Wilson brings to the set as an actor. Everyone acknowledges Wilson’s a funny guy, Brody says, “He’s an incredibly gifted comedic actor... generous and fun to be with.” His presence is clearly missed at this event.
For someone who has such an indie-film following Anderson admits, “Mainstream is a good place to be. That’s where the audience is.” He doesn’t set about making movies to see how weird they can be. Though he doesn’t speculate whether and by whom his films will be accepted during the filmmaking process, he does think about it afterwards. He hopes everyone’s going to like it, and then he worries they may not.
It’s incomprehensible that someone with Anderson’s credibility, talent and calculated genius could be apprehensive about how this film (or any of his films) will be received. And though he comes across as edgy, stiff and circumspect, I have to withhold judgment on a man who is unanimously regarded as a loyal, magnanimous friend by his peers. I want to tell him, “Wes, relax, you’ve already got your shoes off; you don’t have to worry, ‘The Darjeerling Limited’ is a perfect film.”
Originally published in the Santa Monica Daily Press print edition on October 6, 2007. Read the original PDF.