I think Wes Montgomery is the greatest jazz guitarist that ever lived.
Wes Anderson's films, 6-year-olds are crazy about them.
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.
The girl in the tight black dress was passing by us now, eyeing Wes and walking entirely too slowly. "Hi," she said, and he nodded at her but didn't reply. Knew it, I thought. Honestly," I said. What?" Come on. You have to admit, it's sort of ridiculous. " What is?" Now that I had to define it, I found myself struggling for the right words. "You know," I said, then figured Kristy had really summed it up best. "The sa-woon. " The what?
The idea of working with David Fincher or Paul Thomas Anderson or Wes Anderson or Scorsese or Spielberg or any of the guys I really idolize is a dream for me.
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!
Wes wants to be with Macy. And Macy, whether she'll admit it or not, wants to be with Wes. And yet they're not together, which is not only unjust, but when you think about it, tragical!
Ready to be humiliated, Wanda?" Wes taunted. "You may have taken the planet, but you're losing this game.
That sucks, though," Wes said finally, his voice low. "You're just setting yourself up to fail, because you'll never get everything perfect. " "Says who?" He just looked at me. "The world," he said, gesturing all around us, as if this party, this deck encompassed it all. "The universe. There's just no way. And why would you want everything to be perfect, anyway?" "I don't want everything to be perfect," I said. Just me, I thought. Somehow. "I just want—
Wes Craven is a wonderful friend, and we had a really good time together.
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.
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 that in heill wes and gladnes Am trublit now with gret seiknes And feblit with infermite: Timor Mortis conturbat me. * * Fear of Death troubles me.
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.
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.
We worked together with Wes Anderson writing a couple more movies together: Rushmore [1998] and Tenenbaums.
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.
How fast were you?" Wes asked me. I said, "Not that fast. " "You mean you couldn't. . . fly?" he said, smiling at me.
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.
