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Wes Anderson Swearing Supercut is Obviously NSFW

Oh how we love Wes Anderson! Liking Wes Anderson films might as well be a pre-requisite in order to work at Nerdist.com. Ok, maybe not a pre-requisite, but it does at least lend itself to being conversational. Kyle Anderson has ranked his favorites, we’ve obsessed over Lego fan-builds, we’ve fawned over the Star Wars and X-Men parodies, and in recent months I myself have geeked out on no fewer than three different Anderson topics. One in particular – the supercut of the violence Anderson uses in his films – is as surpising as the swearing supercut above.

Composed by editor Luíz Azevedo, the collection of all the foul language in Wes Anderson films is fairly impressive, not because the use of language is anything groundbreaking or even overdone, but rather that it remains relatively under the radar. It’s definitely not what we remember from Anderson films. To overuse a metaphor I recently used in another article, swearing can be like salt in a recipe – too much and it’s noticeable, just the right amount and it makes the meal. Anderson, among the very long list of great things he does in film, is a master at adding just the right amount of vulgarity.

Much like the violence video, it’s really only noticeable when presented all at once. We certainly know when bad language is used but it never takes center stage. In the rare instances it comes close to taking the limelight, we’re more interested in the character that’s using it at that moment because we’re usually invested in what’s setting them off so much to drop various F and S Bombs.

Where it may have been completely noticeable was in the film it wasn’t used at all. 2009’s PG-rated The Fantasic Mr. Fox still had characters verbally venting their frustration, but it was always replaced with some form of the word “cuss”. This in its own right became an entertaining tongue-in-cheek nod to the dialogue that usually exists in Anderson’s films while still maintaining a family friendly tone of the stop-motion film.

This, and the violence supercut, certainly prove that Anderson composes his films in the correct proportions so that nothing, sans maybe the center framing, sticks out too much.

What do you think of the swearing super-cut? Cussing awesome as cuss, right!? Let us know in the cussing comments below you dirty cusses!

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