Personally, I consider him a true great mind and I feel the same about Quentin Tarantino. What we found while digging through the World  Wide Web for comments and anticipations for Moonrise Kingdom, were comparisons between the two of them and split opinions about how they need to grow up and why not.

Both Tarantino and Anderson allude overtly and often to the work of previous filmmakers, though their sources differ (Anderson leaning more on the French New Wave and Hal Ashby, among others; Tarantino borrowing from B-movie sources that don’t seem to interest Anderson). Both have arguably become more stylistically mannered as their careers have progressed.

It is fairly known that you can recognize a Tarantino movie by the shots he insists on taking. A shot on the full plate, a girl smoking a cigarette, an up-close of the guy holding a gun, Tarantino loves them all. If you take a look at the picture below you

will understand.

The truly interesting individual feature of these two directors, is the symbolic and literal difference in their view of the world. While Anderson frequently uses overhead shots, Tarantino is fond of shots that look up at characters. Anderson’s overhead shots illustrate his delight in order, in arrangement; Tarantino’s shots “from below” generally convey menace, as a typically frightening character or group of characters look down at someone in danger.