Major Project: Director Research - Wes Anderson
Who is Wes Anderson?
Wesley Wales Anderson was born on May 1st 1969 in Houston, Texas. Anderson has a distinct style, his films stand out aesthetically with colourful pallets, symmetry and smooth tracking shots. Anderson's style is quickly recognizable, his films work on the dramatic comedy side with an ensemble of actors such as Owen Wilson, Adrien Brody, Jason Schwartzman and Bill Murray.
Anderson's films are usually quirky with a nostalgic colour scheme, each distinct and standing out from other works of modern cinema, Anderson provides a unique and near perfect visual display within his films. An OCD or perfectionists dream.
Techniques/Style
Tracking Shots
One of the most effective tools techniques Anderson's is his use of tracking shot. As can be seen in the super-cut below, Anderson religiously uses tracking shots within his work. He uses them effectively to not only serve the purpose of following the action, he uses it collaboration with framing and speed to create an aesthetically pleasing and fluid shot that swiftly yet smoothly follows action on screen.
The technique creates movement and energy, even in a scene that could be conveying completely contrasted emotion. It can make a sad or depressing moment lively.
A key trademark of an Anderson film, the tracking shot provides momentum and flourish to his work. Something that Wes Anderson is able to do is create a rhythmic and smooth flowing film that visually tells a story of a unique world/story.
Symmetry and Centralization
Symmetry and Centralization is a huge part of Anderson's work. His framing and staging of a scene can be seen throughout his work. It can be seen as an obsessive part of his creative work as almost every scene and absolutely every film has a moment where symmetry plays a pivotal role.
It can be seen that Anderson's admiration for Kubrick is evident within his work when, in particularly, looking at symmetry and centralization. The aesthetic style is prominent, but could be argued to be at times distracting. Symmetry is something that is usually not subtle. In particular in Anderson's film, he draws attention to the use of the style through colour and multiple uses. It could be argued that the amount of use becomes more obsessive, rather than stylistic.
Below within a super-cut, Anderson's use of the style can be seen throughout his work.
Palettes and Patterns
Another key area within Anderson's style is his use of colour palettes and patterns. Anderson frequently includes patterns or bursts of bright colour within his films. Be it a significant object, characters costume or unique setting. His work always features this bright, recognizable style. This can be seen within the super-cut below.
One of his most colourful and pattern heavy films to date is The Grand Budapest Hotel (2014). The film features the best of Anderson with a visual display of coordinated colour and pattern creating stunning images that form the signature of his style as a director and visionary.
Short Films
Bottle Rocket (1994)
Hotel Chevalier (2007)
Cousin Ben Troop Screening with Jason Schwartzman (2012)
Prada: Candy (2013)
Castello Cavalcanti (2013)
Come Together: A Fashion Picture in Motion (2016)
Feature Films
Bottle Rocket (1996)
Rushmore (1998)
The Royal Tenenbaums (2001)
The Life Aquatic with Steve Zissou (2004)
The Darjeeling Limited (2007)
Fantastic Mr. Fox (2009)
Moonrise Kingdom (2012)
The Grand Budapest Hotel (2014)
Effects on my Work
When creating the character of Emily Atkinson within Double Exposure I looked to detail her obsession for control and order. Within the script I described Emily and Dan's home as 'a Wes Anderson dream'. By this I was referring to the arrangement of her everyday items such as makeup, photographs, wall hangings and furniture.
However, within this I was also referring to a certain degree the style of shooting and framing. In particularity his use of symmetry, centralization and tracking shots.
I felt it necessary to further research and look into Anderson's style and vision for his films. By doing so I was able to understand the techniques that create a Wes Anderson film.
Anderson uses symmetry as an aesthetic style. While this is different to my use, which is more Kubrick in the sense of it is used to make the audience feel uneasy, the style of Anderson is evident within my work through prop positioning, blocking and framing.
I used this style to translate perfection. I wanted the seemingly perfect style of Anderson, to be evident within Emily's life, and the perception of it. By doing this Emily's home becomes an eerie and uncomfortably perfect home that represents her own mind. It adds to the element of a false reality within the film and home's setting being reflective of Emily's mind.
Reference
Wesley Wales Anderson was born on May 1st 1969 in Houston, Texas. Anderson has a distinct style, his films stand out aesthetically with colourful pallets, symmetry and smooth tracking shots. Anderson's style is quickly recognizable, his films work on the dramatic comedy side with an ensemble of actors such as Owen Wilson, Adrien Brody, Jason Schwartzman and Bill Murray.
Anderson's films are usually quirky with a nostalgic colour scheme, each distinct and standing out from other works of modern cinema, Anderson provides a unique and near perfect visual display within his films. An OCD or perfectionists dream.
Techniques/Style
Tracking Shots
One of the most effective tools techniques Anderson's is his use of tracking shot. As can be seen in the super-cut below, Anderson religiously uses tracking shots within his work. He uses them effectively to not only serve the purpose of following the action, he uses it collaboration with framing and speed to create an aesthetically pleasing and fluid shot that swiftly yet smoothly follows action on screen.
The technique creates movement and energy, even in a scene that could be conveying completely contrasted emotion. It can make a sad or depressing moment lively.
A key trademark of an Anderson film, the tracking shot provides momentum and flourish to his work. Something that Wes Anderson is able to do is create a rhythmic and smooth flowing film that visually tells a story of a unique world/story.
Symmetry and Centralization
Symmetry and Centralization is a huge part of Anderson's work. His framing and staging of a scene can be seen throughout his work. It can be seen as an obsessive part of his creative work as almost every scene and absolutely every film has a moment where symmetry plays a pivotal role.
It can be seen that Anderson's admiration for Kubrick is evident within his work when, in particularly, looking at symmetry and centralization. The aesthetic style is prominent, but could be argued to be at times distracting. Symmetry is something that is usually not subtle. In particular in Anderson's film, he draws attention to the use of the style through colour and multiple uses. It could be argued that the amount of use becomes more obsessive, rather than stylistic.
Below within a super-cut, Anderson's use of the style can be seen throughout his work.
Palettes and Patterns
Another key area within Anderson's style is his use of colour palettes and patterns. Anderson frequently includes patterns or bursts of bright colour within his films. Be it a significant object, characters costume or unique setting. His work always features this bright, recognizable style. This can be seen within the super-cut below.
One of his most colourful and pattern heavy films to date is The Grand Budapest Hotel (2014). The film features the best of Anderson with a visual display of coordinated colour and pattern creating stunning images that form the signature of his style as a director and visionary.
Short Films
Bottle Rocket (1994)
Hotel Chevalier (2007)
Cousin Ben Troop Screening with Jason Schwartzman (2012)
Prada: Candy (2013)
Castello Cavalcanti (2013)
Come Together: A Fashion Picture in Motion (2016)
Feature Films
Bottle Rocket (1996)
Rushmore (1998)
The Royal Tenenbaums (2001)
The Life Aquatic with Steve Zissou (2004)
The Darjeeling Limited (2007)
Fantastic Mr. Fox (2009)
Moonrise Kingdom (2012)
The Grand Budapest Hotel (2014)
Effects on my Work
When creating the character of Emily Atkinson within Double Exposure I looked to detail her obsession for control and order. Within the script I described Emily and Dan's home as 'a Wes Anderson dream'. By this I was referring to the arrangement of her everyday items such as makeup, photographs, wall hangings and furniture.
However, within this I was also referring to a certain degree the style of shooting and framing. In particularity his use of symmetry, centralization and tracking shots.
I felt it necessary to further research and look into Anderson's style and vision for his films. By doing so I was able to understand the techniques that create a Wes Anderson film.
Anderson uses symmetry as an aesthetic style. While this is different to my use, which is more Kubrick in the sense of it is used to make the audience feel uneasy, the style of Anderson is evident within my work through prop positioning, blocking and framing.
I used this style to translate perfection. I wanted the seemingly perfect style of Anderson, to be evident within Emily's life, and the perception of it. By doing this Emily's home becomes an eerie and uncomfortably perfect home that represents her own mind. It adds to the element of a false reality within the film and home's setting being reflective of Emily's mind.
Reference
- https://www.theguardian.com/film/2014/feb/23/wes-anderson-grand-budapest-hotel-director
- http://www.telegraph.co.uk/culture/film/starsandstories/10644172/Wes-Anderson-interview.html
- http://screenrant.com/wes-anderson-movie-guide/
- Tracking Shot Super-cut
- Symmetry and Centralization Super-cut
- Palettes and Patterns Super-cut
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