Wes Anderson gets stuck in an elevator
Translated from German, summarized and contextualized by DistantNews.
At a glance
- Director Wes Anderson was briefly stuck in an elevator in Los Angeles but remained unfazed by the 40-minute wait.
- The experience prompted reflection on the often-overlooked 'poetry of vertical transport' in elevators.
- The article notes that the 'door close' button in many modern elevators is often non-functional, designed to give passengers a sense of control.
Filmmaker Wes Anderson experienced an unexpected delay when he became stuck in an elevator at a Los Angeles film museum. Despite the 40-minute wait for his release, Anderson reportedly remained in good spirits, suggesting the incident might even find its way into his future cinematic work.
Wes Anderson remained in good spirits after being freed from the lift after 40 minutes.
The unusual situation led to a reflection on elevators themselves, described as fascinating yet often unappreciated constructs. While flying and road travel have inspired numerous artistic tributes, the 'poetry of vertical transport' remains comparatively underexplored, according to an article cited from The New Yorker.
An interesting detail highlighted is the common presence of a non-functional 'door close' button in many contemporary elevators. This button, while seemingly offering passengers immediate control, often serves purely psychological purposes, designed to give riders a sense of agency during their journey.
While there are numerous odes to flying and the allure of the street, 'the poetry of vertical transport is thin,' the author says.
The article posits that, much like in life, time and space are critical factors in the experience of elevator travel. Anderson's brief confinement, rather than causing distress, seemed to offer a moment for contemplation on this mundane yet essential aspect of modern infrastructure.
In elevator rides, as in life, time and space are the decisive factors.
Originally published by Die Zeit in German. Translated, summarized, and contextualized by our editorial team with added local perspective. Read our editorial standards.