Hello, my name is Justin Glune. We're here today with Will Sloan. And you're listening to

the important cinema club. And today, we're finally doing it. We're talking about Wes Anderson.

In a different timeline, we'd probably be sitting in a theater right now watching his latest film,

The French Dispatch.

Fortunately, there is no topical reason to do this episode. We're instead doing it because

he's one of those guys, you know? He's one of those dorm room poster perennials.

We're doing it because we want those clicks, Will. We know people recognize the name

Wes Sanderson and go,

hey, I would like to hear two white-bespectacled straight guys talk about his filmography.

Two guys who perhaps could be characters in a Wes Anderson movie.

For young cinefiles, really for any cinefiles, he's another one of those directors

who makes you understand what a director does.

He's a man with, you know,

a heavy stamp, heavy amount of style, recurring visual and, and thematic motifs that occur

from film to film. Look at me. I'm a filmmaker. Ooh, that shows that somebody's actually

putting a lot of effort in making everything like a proscenium or making it all symmetrical in frame.

But, you know, we are going to be talking about Wes Anderson in hopefully a slightly imaginative way.

We are going to be looking at Wes Anderson's exploitation.

Imagine it if you say, let me play some of that music.

Just imagine Justin and me sitting in a symmetrical frame surrounded by pastel colors.

All these movie posters for fake movies, but all very artfully put...

What is Wes Anderson'sploitation?

...