People love to call Wes Anderson the most aesthetic director in Hollywood, and he’s right: shots from his movies fly into pictures on Pinterest, and there’s even an Accidental Wes Anderson account where they post pictures similar to his work on social networks. In the latter, she likes to collect all the cream of Hollywood (for example, in the French Herald, a true golden cast from Frances McDormand, Tilda Swinton and Adrien Brody to Timothée Chalamet and Leah Seydoux) and tells great stories only that way. can – nice. Aesthetic and perfectionist, she celebrates her 53rd birthday today and makes films that always stand out from the crowd and bring a breath of fresh air. Here is Wes Anderson’s signature style (which the director calls his style a five-degree shifted reality): symmetrical plans, candy tones, dollhouses, fidelity to the movie, and a riot of color, justified in every frame that everyone wants to see. Save to “Camera Roll”.
Wes Anderson approaches the palette that paints his films with great care, and its characteristic saturation circulates from one work to the next with little or no change, but among the shade variants are the favorites of the most aesthetic director of our time: yellow, red and turquoise. . It seems impossible to imagine his “Grand Budapest Hotel” without a bouquet of pink, red, and blue, “Beautiful Mr. Fox” without amber, and his “Full Moon Kingdom” without shades of green.
And the film, which clearly captures all the halftones, gives such a riot of colors a special magic. Yes, with such attention, perhaps, he refers to the cast, which, as a rule, collects stars of the first magnitude and their favorites: Bill Murray, Owen Wilson, Jason Schwartzman.
Another important component of Wes Anderson’s visual language is symmetry, where you can feel the clear influence of Stanley Kubrick, Peter Greenaway and Whit Stillman, who emphasize proportion. He perfects the clarity of his shots, and in many ways this is not just the desire to create a geometric ideal, but also the director’s individual ideas about beauty: “These are not conscious decisions, but something like handwriting. I do it this way, not the other way; Otherwise, I don’t like it.” The camera tracks the subject in one trajectory, while long shots that focus on the action also bring him closer to his dream, the theater he’s always dreamed of. Overall, shooting-wise, Wes Anderson is a real fetishist. That’s why permanent cinematographer Robert Yeoman and his favorite static from above. down-shots and his distinctive use of close-ups and objective worlds that accurately reflect the characters of his characters and make his films detailed and tactile down to the smallest detail.
Wes Anderson also loves fonts. Yes, like the color scheme, they play their part in each movie, and it’s literally a family affair for the director: his younger brother, Eric Chase Anderson, is mainly responsible for the fonts and text. The handwriting, the design of the notes, the names on the vehicles, the buildings, the boxes, the newspaper and book headlines, the advertising signs – everything has its place, it never looks like that in the frame and tries to bring out the characters. For example, the Tilda cursive font was specially designed for the Full Moon Kingdom and a symbolic Archer was chosen for the Greater Budapest, used for the food magazine Martha Stewart Living. Coincidence?
Overall, Wes Anderson admitted that he would have been an architect had he not gone to the movies, and this is clearly reflected in his style: The worlds he creates on the screen, whether they are books or not, are full of detail. and personal items or wallpapers and paintings. At the same time, all these little things that make the picture perfect come up by itself, as the director himself admits: “I’m always amazed how things turn out, none of my films have ever turned out the way I thought they would.” The same rule applies to costumes: Milena Canonero (The Godfather, The Shining, A Clockwork Orange) is mainly responsible for the films, but the director himself personally puts his hand on the images of his characters. Because of this attention to detail, for example, Fantastic Mr. The artists at Fox had to remake several shots just because the pants were the wrong length. But as a result, the impeccable style of the characters and world brands in the director’s list of fans: for example, Prada invented suitcases for his works, and Louis Vuitton, led by Marc Jacobs, was responsible for luggage and clothes. Your siblings from the movie The Darjeeling Train.
And while Wes Anderson is often accused of infantilism (even the typical protagonist is a child in a hurry to grow up or an adult with a child at heart), it’s still more than just a pretty picture. He makes multi-character films, combines bright characters with style and quirks, talks about family and does it seriously, albeit under the guise of comedy, creating their own unique worlds, dollhouses that go far beyond the screen.
Source: People Talk
