Cari Lynn is an AwardsLine contributor
A tale of first love had been knocking around in Wes Anderson’s brain for nearly a decade. But before it became the quirky, cherubic Moonrise Kingdom—which earned Oscar talk after being granted the coveted opening-night slot at the Cannes Film Festival and having gone on to become a crossover boxoffice hit—Anderson struggled with getting the story down on paper. For the better part of a year, all he had was a hodgepodge of ideas: a 12-year-old boy and girl in 1965, a New England island, the feel of François Truffaut’s 1976 film Small Change, and a record playing Leonard Bernstein’s “The Young Person’s Guide to the Orchestra”—but no script.
“When we would chat, I would ask Wes how that island film was coming,” says Roman Coppola, who cowrote The Darjeeling Limited with Anderson and Jason Schwartzman. “A chunk of time would pass, and we’d meet up again, and again I’d ask. It was clear the world, the feeling, the vibe of it was there, but the details were vague. Often when you’re working on a creative thing you have a sense that it exists, but you’re trying to find its form.”