12 Reasons To Make You Love The Films Of Wes Anderson

18 August 2014 Features, Other Lists by Alexandra Gandra

Master of visual storytelling, Wes Anderson is an American film director and screenwriter
whose films are known for his unique artistic sensibilities. The geometric concept, meticulous
color schemes, quirky characters and dialogue, dead-pan comedy and camera movements are
basic elements to help the audience recognize any Anderson film.
There are other elements worth mentioning that bring attention to his work and leave an
impressive mark on aspiring filmmakers today. Once the viewers discover most of the usuals,
its simple to locate other small details and make connections between them. Moreover, the
audience can best understand his characters and stories by being more aware of previously
missed technicalities.
Andersons stylistic choicesbeing both loved and hated by manyhave provoked much
acclaim, discussions and even parodies, and he has become the recipient of in-depth scrutiny.
The list below presents a guide to how film fans can positively view Wes Andersons
filmmaking, and how the auteur distinguishes himself through a number of lovable factors
that contribute to making his products so recognizable.

1. Symmetry

Out of the several identifiable pieces of Wes Andersons unique visual style, theres one
highly effective technique that is directly connected to the human mind and helps making his
films extremely appealing. As opposed to more common techniqueslike the rule of
thirdshis use of center-balance or one-point perspective isnt meaningless.
Besides other characteristics, like the quirky dialogues, gentle pacing and specific set of
actors, symmetry also plays a role in the most comic parts of his films. Film critic David
Bordwell writes that symmetry can create a static geometrical frame [that] can evoke a
deadpan comic quality. This is proven in Andersons work, where symmetrical goodness
makes the film more interesting and, simultaneously, amusingly offbeat.
The precision in which he does italong with other set-ups involving dolly (tracking) shots
running parallel to the action, slow-motion shots, birds eye shots (from above), and static
cameras zooming in and outis certainly one of the reasons why his style is so distinct and
helps build a keen visual harmony.
The video below is from British Film Institute contributor and filmmaker Konadawho
worked on the visual cues of a featurette for Criterion, which appear in Andersons other
films such as Fantastic Mr. Fox (2009)demonstrates the immaculate composition in scenes
from Andersons filmography by placing a centered white line atop numerous shots from
earlier projects, such as Rushmore (1998) to his most recent The Grand Budapest Hotel
(2014).
In the video below, Konada also shows Andersons preference for composing shots directly
from above:

2. Color Palettes

When watching a Wes Anderson film, the viewer can clearly understand why this particular
director serves as an inspiration to so many designers. Specifically, its most noticeable how
much thought he puts into the color schemes, almost branding each film simply through the
use of color.
The impact of clor on his cinematography is outstanding, as one can see in films such as The
Life Aquatic with Steve Zissou (2004)which carries a marine-themed scheme filled with
various shades of blue and orangeand his latest offering, The Grand Budapest Hotel, in
which soft pinks and faded browns prevail. Further, theres a washed-out, saturated effect to
these colors that is clearly another part of Andersons influences from the 60s and 70s,
supporting his recognizable aesthetics.
Since the premiere of his latest film, the Internet has shown an even bigger interest in this
detail, encouraging the creation of sites and blogs dedicated to his color palettes and visual
style, such as: http://wesandersonpalettes.tumblr.com/.
The following video is a presentation of his brilliant use of color, compiling examples all
throughout his filmography:

3. Music

Art is elegantly portrayed in the perfectly scored scenes of Wes Andersons films. Over the
years, Anderson has worked with the same music supervisor, Randall Poster, who helps the
director choose the songs and determine the overall music direction of the films.
Music is almost a character in Andersons films, playing a role that can completely transform
a scene, giving his films a new light, or reducing the sound to a romantic and melancholic
tone. Quite a few tunes are remarkable, such as Seu Jorges Portuguese covers of David
Bowies songs in The Life Aquatic, the opera in Moonrise Kingdom (2012), and an array
of rock songs from the 60s included in various films.
Poster, who is usually one of the first readers of Andersons screenplays, once commented
that music is elementary in the process of Andersons creations, which makes music an
essential part of the films development. From the start, the duo decide on what kind of music
genre will predominate, or even particular songs they will use.
In the following video, Andersons soundtracks are remixed by Eclectic Method, an audiovisual remix act, compiling a perfect depiction of the directors dazzling music combinations.
The Wes Anderson Mixtape

4. Recurring Actors

Bill Murray is always the first name to come to mind, having had a role in every Anderson
film except in his debut, Bottle Rocket (1996), and is considered by Anderson central to his
movie family. His collaborations with the director started in Rushmore (1998), from which he
received only the SAG-approved minimum of approximately $9,000. (Murray is currently
considered one of the highest-paid actors in the world.)
This eventually led to more films and made for a lucrative collaboration that won Anderson
plenty awards. The same way they became friends, so have the other most common actors in
his films, such as Owen and Luke Wilson, Jason Schwartzman, Adrien Brody, Anjelica
Huston, Kumar Pallana, and Willem Dafoe.
Anderson first befriended Owen Wilson at the University of Texas in Austin, where they
(with Owens brother, Luke), made a short film, which later became the film Bottle Rocket.
This relationship commenced a number of collaborations between the triowriting included.

Schwartzman joined them in Rushmore. Nonetheless, most of the great aforementioned

actors are essential to his work and process of immediately distinguishing his films from
everyone elses.

5. Family Centered

One of the most prominent elements of Wes Andersons screenplays is that the stories
typically revolve around a family. It is uncertain whether or not there is Andersons
sentimental value behind these stories, or any kind of reminiscence related to his own family.
There is a specific set of issues present in most families depicted in his filmography,
including parental abandonment, sibling rivalry, grief and unconventional raising of children.
Andersons films are unusually character-driven; thus, he places much emphasis on the
characters background and family. Their dysfunctional glory is one of the primary themes,
making them endure difficulties and later finding some sort of reconciliation.
Several of the auteurs films even make the family the main conflict of the entire film, such
as The Royal Tenenbaums (2001), The Life Aquatic (2004), The Darjeeling Limited (2007),
and Fantastic Mr. Fox (2009). In his other films, though, theres always the bittersweet
presence of a family matter as a background. Its a huge part of what makes his stories so
human and heartfelt, making the audience relate or empathize with it.

6. Dead-pan Dialogue and Characterizations

The previously mentioned recurring actors are often an inspiration to certain peculiar
characters and dialogues made famous in Wes Andersons films. They are usually given lines
that demand comedic dryness and emotional subtlety, which could very well go wrong if it
wasnt for the visual techniques that make the audience chuckle every time a character is at
the center of the frame talking with no apparent sentiment at all.
Andersons dialogue style varies from understated to matter-of-fact, delivering silly lines in
an expressionless serious way and serious dialogue in an unsettling foolish way. Ridiculous
situations are presented as normal occurrences, and at least one character in each film is
completely obsessed with their current project, which is usually something creative.
Andersons characters dont usually miss an introduction, which is vital to his storytelling.
Usually, there are self-absorbed characters unable to grasp any real understanding of human
compassion and other lives besides their own, and the storytelling is often accompanied by a
narrators voice.
The Criterion Collection has included in their YouTube channel part of Introducing the
Tenenbaums, which absolutely describes this topic.
Deadpan is a form of comic delivery in which humor is presented without a change in
emotion or body language. It is usually spoken in a casual, monotone

12 Reasons To Make You Love The Films Of Wes Anderson

18 AUGUST 2014 FEATURES, OTHER LISTS BY ALEXANDRA GANDRA
7. Nostalgia

Either it is represented in children or teenage characters [Moonrise Kingdom (2013) and

Rushmore (1998)], or when showing background information from a characters past [Grand
Budapest (2014), Darjeeling Limited (2007), and Royal Tenenbaums (2001)], nostalgia is
considered a basic theme.
Andersons retroversions in a story are not necessarily flashbacks, but integral parts of the
story. In fact, the portrayed memories are usually tumultuous, sad, and bizarre. They are
either funny or a dramatic revelation. Sometimes theyre historical such as grand old hotels.
Anderson uses nostalgia almost as a lesson covered with over-the-top satire, bringing full
meaning to return to roots and accepting reality, even with the most awkward past
experiences and adventures. By doing this, he allows the audience to travel to a bygone era
and remember the art, the people, the culture, behaviors and styles that, as we get older, fall
into oblivion.

8. Adult Children

Children are almost always present in Andersons films, yet unexpectedly portrayed as adults,
capable of handling issues and solving problems, speaking like old college professors and
wearing odd costumes that would most likely belong to older people. They are typically
smart and witty, separated from anything that would classify them as children.
As opposed to this, adults are commonly portrayed as the children, starting unnecessary
fights or arguments, speaking in a simpler style, lacking signs of maturity and perception, and
an enormous difficulty overcoming obstacles.
Max Fischer and Herman Blume (Schwartzman and Murray, respectively) from Rushmore
(1998) are the obvious examples in this case, but Moonrise Kingdom (2013) also underlines
this topic well. Even the Tenenbaum children are, evidently, smarter than usual, which
profoundly contrasts with the father figure in the film.
The topic of parental abandonment (or related issues) usually allows children characters to
develop friendships with older peoplewho act as mentors, ultimately becoming surrogate
fathersas they help and keep each other company after an unsettling set of events.

9. Set Design

Anderson once reported that if he had he not become a filmmaker, he would have enjoyed
being an architect. Details are, of course, obligatory elements that fill the sets and fit the
characters worldsfrom paintings to books, photography, music, personal items,
wallpapers, etc.
Set design in Andersons filmography is an art, meticulously considered, from tiny
brownstone apartments to color themes to elaborate costumes. In a way, Anderson makes
everything that usually surrounds a character a portrayal of that same character, defining
personalities and conflicts, creating unique cinematic landscapes.
Andersons visually stunning sets are formulated with the assistance of production and
graphic designerswho have gained more relevance throughout the directors careerwhich
is evident in most recent works, such as the preposterous design of The Grand Budapest
Hotel (2014)where he built from scratch an entire fictional set that had to change with
time.
Heres a video of Bill Murray hosting a tour of the set of Moonrise Kingdom (2013):

10. Love

The discovery and loss of love, as portrayed in Andersons films, are often featured as both
antiquated and precocious circumstances. Theres a preference for writing letters and
asserting ones feelings, mixing awkward situations with highly emotional ones, which are
are categorized between satire and fiction inside fiction.
Although the love concept appears deceiving, theres nothing ridiculous or random about
how the characters fall in love and how they choose to pursue it. In the end, theres almost
always a lesson to learn, or a feeling of utmost empathy and desire for extremely peculiar
characters to get together and live happily ever after. Having to deal with real life tragedies,
Wes Anderson, in his typical love stories, has created a normal balance of unrequited love
and unconventional relationships.
Most importantly, theres an essential side to Andersons love concept that involves
transcending age, which provides a voice to characters of all ages and their own views of
love, showing that anyone is capable of it, and everyone has a right to it.
For example, Sam and Suzy are children in love in Moonrise (2013); Richie is in love with
his adopted sister Margot in Tenenbaums (2001); and Max is in love with his older teacher,
Rosemary, in Rushmore (1998). Hope and warmth are apparent in these love stories, no
matter what the characters endure.

11. Typography

When examining typography in Wes Andersons films, an individual will notice that theres
one specific fundamental geometric sans-serif typeface: Futura. Apparently, the director has a
slight obsession with the font, making its use consistent in his filmography. Anderson has
mentioned this aspect was inspired by old Italian movies, which he loved in his youth, and he
now uses Futura as a tribute to them.
Typography is an integral part of his films, and is used as transitions, especially via books,
places, letters, props, etc. His signature font is just another occupied spot on his detailobsessed aesthetic, and has gained him a legion of followers and serif-loathing devotees, who
were very upset with his use of a different typeface for Moonrise Kingdom (2013), which
was designed by Jessica Hische specifically for the film.

Theres a common side to an auteur being associated with a particular font, as it with
Bergmans and Woody Allens use of Windsor. Andersons typographical trademark is yet
another extremely pleasing facet of Andersons filmmaking.

12. Strange Clothing and Accessories

Despite what the entirety of Moonrise Kingdom (2013) suggests, khaki shorts are not
everything that constitute Andersons fashion in films. Some characters ensembles receive
more attention than others, but Andersons costuming is undoubtedly a vital characteristic in
order for each character to fit a specific time, personality, or even mission [cue to Life
Aquatic (2004)].
Ridiculous hats and other accessories usually make for great comedy. Its a way of saying
that these characters eccentricities are present on the outside, too, for the whole world to see.
Anderson has also maintained a clear retro influence, including: Adidas tracksuits from the
1970s, famous sneakers from other decades, tweed jackets, fur coats, bags and business suits,
among many others. Anderson knows how to work with these items and how to integrate
them into his films because, firstly, he has some sense of style; and secondly, he knows how
to work a color palette.
While Louis Vuitton constructed luggage for The Darjeeling Limited (2007) and Adidas
made sneakers for Team Zissou, Anderson added details such as glasses, random costumes,
monochromatic uniforms, patterns, andevidentlykhaki shorts.
Author Bio: Alex Gandra is a Portuguese writer and filmmaker.She graduated this year in
New Communication Technologies from the University of Aveiro and is currently in a
masters degree in Digital Audiovisual. She spends too much time in cafs writing scripts and

other kinds of texts you can find at medium.com/@gandra_le. Shes also writing a book she
hopes to finish some day.

Read more at http://www.tasteofcinema.com/2014/12-reasons-to-make-you-love-the-filmsof-wes-anderson/#V3GeqatLPYwLkczG.99