John Peet

John Peet’s filmography is a bit of a quirky ride, and honestly, it’s a blast if you’re into that offbeat Wes Anderson vibe. If you caught Moonrise Kingdom back in 2012, you know the deal—summer camp, young love, a crew of oddball adults trying to wrangle chaos on a New England island. There’s that signature pastel color palette, deadpan humor, and a bunch of characters who look like they wandered out of a stylish comic strip. Peet’s involvement in that just fits; he’s got this knack for characters who somehow make awkwardness weirdly charming. Then there’s The French Dispatch (2021), which is basically a love letter to journalism, or maybe just to storytelling in general. The whole thing is sectioned like a magazine, each bit its own wild story, but together they mash up into this beautiful, eccentric tribute to writers and artists. You get everything—romance, revolution, a kidnapping (because, sure, why not?). It’s all so meticulously detailed, you could pause on any frame and find something new. Asteroid City (2023) keeps the train rolling with that unique Anderson flavor. Set in a desert town that feels stuck in time, you get scientists, brainy kids, movie stars, and yes—aliens. The plot’s as much about the people as it is about the strangeness, and Peet brings this dry wit to the table that somehow makes the bizarre feel totally normal. All together, his film credits read like a quirky scrapbook: full of oddities, heart, and a kind of off-kilter warmth you don’t see every day.