Wes Anderson is probably one of my favorite quirky directors. With films such as&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/The-Life-Aquatic-with-Steve-Zissou/dp/B00005JNLQ/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">The Life Aquatic with Steve Zissou</a>,<a data-hook="product-link-linked" class="a-link-normal" href="/The-Royal-Tenenbaums/dp/B0000640VJ/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">The Royal Tenenbaums</a>, and&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Rushmore/dp/6305428239/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Rushmore</a>&nbsp;in his repertoire, I feel the "quirky" title to be appropriate. Best known for&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Rushmore/dp/6305428239/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Rushmore</a>&nbsp;(1998), Anderson's films have a unique edge to them. Definitely not in-your-face comedy, their impact is much dryer and subtler (I remember the nude gal in&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/The-Life-Aquatic-with-Steve-Zissou/dp/B00005JNLQ/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">The Life Aquatic with Steve Zissou</a>&nbsp;just being there because some nudity was needed. And I remember Bill Murray driving back and forth over his enemy's bicycle in&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Rushmore/dp/6305428239/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Rushmore</a>&nbsp;then placing it back in its bike rack and how I knew this would influence the battle yet-to-come).