­Matt Zoller Seitz is a film historian, TV critic (for New York magazine and Vulture.com), filmmaker and the editor of Roger­ebert.com. He is also a connoisseur of the oeuvre of the idiosyncratic filmmaker Wes Anderson and the creator of “The Wes Anderson Collection,” a medley of essays, interviews and illustrations in a coffee-table-size book published last year. It is as hyper-designed and meticulous as an Anderson film.

Mr. Seitz has capped himself with “The Grand Budapest Hotel,” out Feb. 10 from Abrams, a rapturously focused work dedicated to that film. Its impending publication neatly coincides with the movie’s Golden Globe award Sunday, and we spoke with Mr. Seitz this week, curious about what led him to tumble down the Anderson rabbit hole with such gusto and commitment. (This interview was edited and condensed.)

Q. Nostalgia for certain periods is a touchstone of Wes Anderson films. How old are you, and do you personally respond to particular elements because they evoke nostalgia for your own childhood?

A. I just turned 46 a couple of weeks ago, so Wes and I do share some of the same film-geek touchstones, like the original “Star Wars” trilogy, which obsessed us both and kind of jump-started Wes’s fascination with building entire worlds on-screen. And we were both into 1970s American dramas and 1960s European art films, and of course the animated “Peanuts” specials directed by Bill Melendez, who’s a huge influence on Wes.