Bill Murray, block fonts, and witty conversation with vocabulary the average fourth grader would not understand. This is the basic checklist for any film involving Wes Anderson.

For hipster film buffs everywhere, Wes Anderson is the go-to director. From his quirky style to plethora of intelligent, reoccurring actors, he can do no wrong.  The only flaw I’d take from his films is that there aren’t enough to satisfy my thirst for his peculiar movie style.

Since his feature film debut with “Bottle Rocket” in 1996, Wes Anderson has captivated the indie-film genre. His plots focus on strange groups of people; everything from a family of has-been child geniuses to a submarine captain seeking revenge on a possibly mythical jaguar shark. Chances are if it’s bizarre and eccentric, Anderson has covered it.

For some reason, another common entity in his films is the constant employment of the same (roughly) eight actors. If you don’t believe me, just visit his Wikipedia page, which features a matrix graph illustrating all of the actors that perform in two or more of his six films. Bill Murray, Owen and Luke Wilson, and Jason Schwartzman are among these man-crushes of Anderson, forming their own league of extraordinary indie-gods. Each character in his films incorporates some theme of self-torture; often including the idea of the tragic hero.

Anderson’s movies also feature interesting soundtracks. Mark Mothersbaugh, famed to our generation for composing the music on “Rugrats” and his appearances on “Yo Gabba Gabba,” works closely with Anderson. Mothersbaugh composed soundtracks for “Bottle Rocket,” “Rushmore” and  “The Royal Tenenbaums.” “The Life Aquatic with Steve Zissou” features David Bowie songs reworked and performed by Seu Jorge. My point here is that if you’re going to see a Wes Anderson picture, it goes without saying that the soundtrack will definitely be interesting.

Wes Anderson, as a director, is an original. He uses film techniques not used by many other contemporaries and always finds a way to be a visionary. His shots are visually appealing, his characters have depth both physically and emotionally, and plain and simple, his movies are fascinating. Some might confuse his film style with that of a more experienced director with seniority, but he’s not an old man. Anderson is a young, innovative director, something the film industry is lacking today.

His next release, scheduled for a 2011 production, is rumored to be titled “Moonrise Kingdom.” Hopefully, the production wraps up quickly and he will endow his next film gift on all the hipsters of the world.