quote by Fred Durst

When Wes came back to Limp Bizkit, we really wanted to do something different. We wanted to make a core record that we didn't care who liked or who disliked.

— Fred Durst

Astounding Wes quotations

I think Wes Montgomery is the greatest jazz guitarist that ever lived.

I sat back, allowing Wes's words to sink in.

Then I responded, "I guess it's hard sometimes to distinguish between second chances and last chances.

I think somebody like Wes [Anderson] has a very good sense of style and is original. I think my sense of style got a little bit better after I was exposed to you guys at Valentino. Because I'm just in Hawaii and Malibu; it's just kind of T-shirts and surfing-type stuff.

I'm a huge Wes Anderson fan. I literally love every single film. He hasn't made a bad film; I've seen every single one. They've all been brilliant, from 'Bottle Rocket' up to 'Moonrise Kingdom,' they've all been wonderful.


People ask me to describe how I play, and the most obvious answer is that I'm a jazz influenced guitar player. But I'm not a jazz guitar player. Wes Montgomery was a jazz guitarist, Joe Pass was a jazz guitarist (laughs).

Everyone was so good at what they were doing, and what they were bringing onto the table, that I was confident. I guess I was just trying to keep up, really, that was my hope at the end of the day; that I could do them justice and do the story [Maze Runner] justice and do Wes [Ball] justice.

I may look like a nice Jewish girl from New Jersey, but inside I'm a 50-year-old, heavyset black man with a big thumb, like Wes Montgomery.

My first love in music was jazz, but I like it all," "I reacted emotionally to Art Blakey and, of course, to Joe Pass and Wes Montgomery. I was all of 16 when I had my first guitar lesson with Joe. But I never focused on being a bebop player. I loved the harmony, rhythm and phrasing, but I wanted to apply them to my own concept and sound.

If I take a lick from so and so, I'm not going to get that many variations from it, because their phrases are just based on a scale. That's why I say Wes Montgomery has more substance than others. I find myself listening to the older players. You see one bar of theirs and you can get one hundred more licks out of it.


You know I never used to be a bad flyer, but I did start to have a fear of flying after I shot a movie where I was terrorized on a plane. I made Wes Craven's 'Red Eye'. I don't think they're linked but it does make me pause and wonder if they are, so perhaps I will explore that in therapy some day.

Wes Craven is a wonderful friend, and we had a really good time together.

I think you have to be ready to switch gears and go with the team as a director, as opposed to superimposing your own strict idea of the story. There are very few directors that can micromanage and still come out with something that's living and breathing on a page. Wes Anderson is one of those.

I love Opening Ceremony, Kenzo - anything Humberto Leon and Carol Lim touch.

I drool over Christopher Kane, Mary Katrantzou, Delpozo, and Wes Gordon.

Now, see," Wes said, nodding at my plate, "this is going to blow your mind.

" I looked at him. "It's a waffle, not the second coming.


Wes Craven is obviously a horror film icon so I was definitely very interested in bringing something back to life that Wes had created.

I even think the commercial element of new American directors is really fertile right now. There are a lot of filmmakers with very particular visions, like Sofia Coppola and Wes Anderson and P.T. Anderson and Alexander Payne and Peter Sollett and Harmony Korine and Vincent Gallo. At least they're making films that they choose to make, and they're on their own. That's positive to me. This is not a dead period for American cinema at all.

I'd like [Santa Claus] to give Wes Anderson, the director, enough money in his next budget for an aerial shot - just a little copter shot. He really wanted this one helicopter shot, and Disney wouldn't give him the money. Just wouldn't give him the money. Every day, he was talking to the studio about this helicopter shot.

If Wes Anderson has a very strong cast, he can direct the minutia of that story and still manage to have something that lives and breathes.

I'd love to sign a contract for the soundtracks to every Wes Anderson movie, you know what I'm saying? Things like that, I have no spots on my conscience about.


And James L. Brooks then sort of became our mentor, brought us out to Los Angeles and worked on the script for a year with us. We learned so much working with him - just being able to spend time with him, the quality of his mind, the things he comes up with and says. I think Wes [Anderson] and I could go to dinner tonight and spend the whole dinner thinking and talking about things that Jim has said to us over the years.

I think for Wes [Anderson] and me, the most important thing was James L.

Brooks producing our first movie and giving us a chance to come to Hollywood, because without him, we might never have gotten the chance.

The movies I've done with Wes [Anderson] have a much different quality than some of the more broad comedies. But what is interesting is how many sequels I've done. I've worked with Ben [Stiller] a million times now, and this is yet another sequel we're doing. I guess we're lucky to be in some movies that people wanted to see again.

We worked together with Wes Anderson writing a couple more movies together: Rushmore [1998] and Tenenbaums.

My roommate in college in Austin, Texas, was Wes Anderson.

Wes always wanted to be a director. I was an English major in college, and he got us to work on a screenplay together. And then, in working on the screenplay, he wanted my brother, Luke, and me to act in this thing. We did a short film that was kind of a first act of what became Bottle Rocket.


Wes [Anderson] is brilliant, kind, and just absolutely fantastic.

He was really amazing in the way he can just take ideas, turn them into such beautiful stories, and then bring them to life with these amazing films the way he does.

Oh, absolutely. James Caan was the first movie star I'd ever met, much less worked with. He was an important person to me and my brothers and Wes. Bottle Rocket was the first movie for all of us. As you know, back then, [Caan] was having some career changes, I think.

I got very lucky to work with Wes Craven, very early on in my career, and continued to work with Wes for almost 19 years. I learned so much from him, and about his sense of story and his sense of horror, and that was great to be a part of.

Among the guitarists, Wes Montgomery is fantastic.

He's always good to let you know what the art form is all about. It's the same still life that everybody is painting, but in comes Wes Montgomery, and it's right there!

In America, even the critics - which is a pity - tend to genre-ize things.

They have a hard time when genres get mixed. They want to categorize things. That's why I love Wes Anderson's films and the Coen Brothers, because you don't know what you're going to get, and very often you get something that you don't expect and that's just what a genre's not supposed to do.


I think if anybody had a roll of dice with a lot of money at stake, they would not want Wes Craven and a romantic comedy.

Wes Anderson's films, 6-year-olds are crazy about them.

Wes Anderson grew up in Houston, and he and I talk about Manhattan in similar ways, as a kind of fantasy world.

There are movies that I love tonally, that I would love to emulate.

Anything from Wes Anderson or the Coen brothers is right in my wheelhouse, as something that I would aspire to. I love that kind of indie, fun, colorful, funny, sweet, heartfelt but dark film.

We are shocked and saddened by Bob Casale's passing.

He not only was integral in DEVO's sound, he worked over twenty years at Mutato, collaborating with me on sixty or seventy films and television shows, not to mention countless commercials and many video games. Bob was instrumental in creating the sound of projects as varied as Rugrats and Wes Anderson's films. He was a great friend. I will miss him greatly.

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