The world is so big, so complex, so full of wonder and surprise that years pass before most people begin to notice that it is also hopelessly broken. We call this period of learning “childhood.” Wes Anderson's films, with their sets, cinematography, freeze frames, maps and models, readily and even eagerly succumb to the "miniature" quality of the worlds he creates. And yet these worlds span continents and decades. “Bottle Rocket”, “Rushmore Academy”, “The Tenenbaums”, “The Life Aquatic”, “Darjeeling Train”, “Fantastic Mr. Fox”, “Moonrise Kingdom” - each of these films contains crime, adultery, cruelty, murder , deaths of parents and children, moments of genuine joy and transcendence. And it's this amazing balance between comedy and tragedy that Wes Anderson fans love so much. This book is very personal, but still speaks to the essence of Anderson's style. It can be called a long conversation between a journalist and a director who know each other quite well. The conversation moves through Wes' career from film to film. And while he shares stories of funny incidents—especially in the chapters on “Bottle Rocket” and “The Darjeeling Train”—the emphasis is always on work. Partly because Wes Anderson is a very private person, but mostly it’s a consequence of the way his mind works. All conversations between the director and the author are about cinema, music, literature, art, the connection between creativity and criticism, and other topics related to the work. And from time to time, Seitz will tell Wes one of his favorite theories about his work to hear what he thinks. And this, like nothing else, makes it clear that every detail in Wes Anderson's films is part of a grand design. Wes has always been able to show how things describe and define individuals. This book was conceived with the same approach. This is a journey through the mind of the artist with the artist himself as a guide and friendly companion.