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He also tends to include dramatic slow-motion sequences, swish pans, and meticulously organized overhead shots (which is also known as " knolling"). There are quite a few visual choices that are consistent across Anderson's films, including shots with flat composition and perfectly centered and symmetrical configurations, usually using long lenses.
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When making a film of your own, don't forget how color impacts the audience and can change the mood of an entire movie. Similarly, at times dark and depressing things are happening to these characters onscreen, but they still find themselves in bright, colorful sets that lend a sense of visual humor to the moment. Characters sometimes discuss dark, painful topics in lighthearted or deadpan conversations. Vreeland, the writer of the paper, also points out that Anderson's use of color is similar to how he tells stories. And we're talking about that here, so obviously that's been effective. But what does this mean?Īt least one academic paper posits that Anderson's more vibrant uses of color aid with audience retention and help viewers associate his distinct visual style and storytelling tone with his films. There is even a supercut focused on Anderson's use of red and yellow specifically. In this project's case, he says he modeled many of the characters on Dickensian tropes.
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He says that he hopes this doesn't distract or feel like cameos, because the characters themselves are usually so exaggerated that they stand on their own.
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Even if it does mean that people can tell it's me."ĭuring a 2014 interview about The Grand Budapest Hotel, Anderson talks about how he often uses recognizable actors in many of his projects. If I feel like I have an idea what the best thing is for the story, I just want to follow that. "And I feel like it's a mistake for me not to do that. In one interview during promotion for The Darjeeling Limited, Anderson addresses how some elements are repeated throughout his films. More than anything, all the elements are carefully selected and curated to create one seamless idea and add to characters' stories. His approaches to story and characters can also help guide writers seeking a voice of their own. Whether you are a fan of his quirky approach to filmmaking or not, Anderson's abilities to use color, set design and cinematography to create a unique visual style can benefit any director with a developing eye. Even if it does mean that people can tell it's me." "If I feel like I have an idea what the best thing is for the story, I just want to follow that. Although he features all types of characters in various periods and settings, from the 1960s summer-drenched island of Moonrise Kingdom to the dystopian version of a future Japan in Isle of Dogs, Anderson's stories are character-driven and often deal with heavy themes like loss and dysfunction. With an exact eye and a flair for creating big, fanciful worlds with deadpan characters, Wes Anderson has essentially created his own genre of film. All Wes Anderson movies have a unique visual and storytelling style that instantly sets his films apart.