Analyzing the Visual Direction in the Films of Wes Anderson
Introduction
Wes Anderson is an American film writer, producer and director. He was born in Houston, Texas in 1969 and attended the prestigious St. John’s School before going onto to the University of Texas in Austin, where he received a BA in philosophy. While in university, he met Owen Wilson and the two began collaborating on a project that would eventually become Anderson’s first film Bottle Rocket, which was released in 1996. When Anderson was eight years old, his parents divorced and to cope with the sudden change, he threw himself into filmmaking and stage production. He became known for producing elaborate stage versions of popular films. Anderson’s off-beat brand of storytelling and his meticulous attention to detailing and camerawork, lighting, sets, costumes and design and his talent for writing melancholy, deeply touching and awkward comedy are all extraordinarily unique in his genre. Anderson’s unusual and individual films take place in a very world that appears to be entirely his own. The extremely artificial, the “Andersonian universe” appears to be very little else being shown in modern cinemas. Anderson is additionally one in all the foremost indirect filmmakers working nowadays. In fact, Anderson’s films will only be absolutely appreciated once viewed through the lens of his several sources. Through this study I show that one is all the aspects that create Anderson so distinctive is that the very approach which he interacts with the sources to which he implies in his work.
Elements of Films
In any film, wardrobe can be a crucial element. Wes Anderson films often take wardrobes a step further than other films by keenly reflecting the characters internal personal stories on their outer being. The characters in the film The Darjeeling Limited (2007) exemplifies examples of unique wardrobe choices in Anderson productions. Clashing, often unnecessary headwear, such the bandage hints to a backstory and adds an enigmatic quality to a character. Some sort of device, as such the walking stick that also indicates a backstory and very often vulnerability in the character. Items that are dangerous, inappropriate and a burden to carry like the cobra in this box. Suits that are very nice but dishevelled that’s sometimes worn with an unusual accompaniment such as a sports jersey, sunglasses; night and day, facial hair; more often than not in the form of a moustache, bags with eclectic goodies that often become an important plot holes. Unusual weapons, such as a pepper spray that seems arbitrary but become necessary items at the appropriate moments in the story. Design styles is more apparent in some films than in others. Certain directors plays strong emphasis on a particular look, and this is certainly the case with Wes Anderson. One of the most identifiable design choices is his use of the font Futura across most of his films. What makes this particularly interesting is that Futura is not only used in titles, but the font is also integrated into the films. The examples of Anderson’s use of the font Futura are almost limitless. What is equally as interesting is where and why he makes other font choices. For example, in The Royal Tenenbaums (2001), Anderson seemingly deliberately uses other fonts for items in scenes associated with characters not related to the Tenenbaum family. Sometimes filmmakers develop a particular signature in in their work. In the case of Wes Anderson, his signature would not be written by hand but it would likely be printed in solid Futura Bold. Anderson also like to use Futura in his end credits. So it’s often the first and the last thing that appears in his films. Anderson definitely has his style, but he’s also shown that he’s not afraid to make some changes; Fantastic Mr. Fox (2009) was entirely stop-motion, completely different from anything he’d made before. Similarly after Fantastic Mr. Fox (2009) came Moonrise Kingdom (2012), and in that a new font called Tilda. The font was created specifically for the film by the designer Jessica Hiche. Anderson’s next film was The Grand Budapest Hotel (2014) which did away with both Futura and custom-made fonts and called it Archer.
The soundtrack is an important element in any film. In some films music choices are subtle. In the case of Anderson films, the soundtrack always plays an important role in setting the tone of a character’s moods and scenes. Although the choices are eclectic; varying from Indian raga to camp fire scene songs, Anderson does have a certain signature style. He often uses the music of British invasion artist and in particular The Zombies, The Kinks and The Rolling Stone and in addition to existing music, he also utilizes the talents of contemporary writers and composers. Most notably, Mark Mothersbaugh, the co-founder of devo and for the movie, The Life Aquatic with Steve Zissou (2004), he also tap the talent of Seu Jorge, a Brazilian singer, song writer who became well-known for his Portuguese covers of David Bowie classics used in the film.
How Colours are Used to Set the Mood of a Film
Filmmaker Wes Anderson has developed definite aesthetic style that’s simply recognizable through his use of striking colour palettes. The aim of this can be to draw conclusions concerning social construction and therefore the role of the family as they relate to colour palettes in Anderson’s films. Counting on the auteur theory, the analysis connected to Anderson’s personal experiences with those of his characters and aimed toward discerning the importance of colour because it connects to social structure. Unique screenplays, well-liked actors, progressive cameras, lighting and sound design all play massive roles within the worth of a production. Aesthetic input is arguably the foremost powerful tool a director has in establishing a particular tone and connecting it to the hearts of his or her audience. Such is that the case with American filmmaker Wes Anderson and his capricious colour palettes. Of all the elements of visual style, colour could also be the foremost difficult to know however it psychologically affects humans. According to Yumibe, “Through its sensual appeal, colour can move the mind and emotions of a spectator. This understanding of the interconnection of the senses, intellect, and emotions is also, broadly construed and synesthetic in nature”. This response involving quite one sense, is common among viewers of Anderson’s films. Colours carry vital which means in society, whether or not consciously acknowledging it or not. Anderson follows a typical aesthetic “guideline” in depicting themes that are as such similar in value. According to Austerlitz, “Anderson’s films are cinematic dollhouses: their wonder is in the perfection of their recreation of the larger world outside their frames”.
Cinematography
Anderson is well-known for creative ways to telling a story; using photography and set designs. His talent in creative and unexpected has also made him a desirable director in television advertising. He has directed commercials for IKEA, American Express, Stella Artois, H&M, Hyundai, Prada, Sony etc. For example, shot for AT&T, Anderson uses a unique approach to the single shot in a dollhouse set designs, to which he has become well- known. The camera is mounted on a revolving platform, on which the principle actor is positioned. And four sets are built in a circle around the platform, as the camera and actor revolve, the viewer is taken instantly from scene to scene while still maintaining the single shot approach. Photography in filmmaking is one of the most obvious ways to affect the overall artistry of the film. While there is standard film schools shots that are tried and true, some directors push the boundaries on standard shots and create new ones in order to successfully tell the compiling story. The overhead shots has been used successfully used in every Anderson film today, even in the stop-motion animation feature Fantastic Mr. Fox. But although the cinematography in Anderson films is often fresh and unique, one of his most identifiable tool is the overhead shot. In an overhead shot the camera is placed in such a way that the audience gains the first person perspective from the view of the character. This type of shot is used before but most often to convey a sense of drama at a highly charged moment in the film and what differentiates the Anderson shot is that he takes the opportunity to establish intimacy by showing personal rituals, letter writing or any other activity that gives further inside into a character. In cinema, single shot is any shot that moves through a scene, tracking from action to action or following a single actor. The shot is accomplished by utilizing a single camera and moving that camera with the action. Accomplishing a successful single shot presents many challenges, including choreographing actors and extras to predetermined queues and keeping necessary crew and equipment out of the shot and panning accurately. Despite the logistical challenges, if the shot is done well, it has the power to establish a high level of intimacy with the viewers. Wes Anderson is known for his talent for choreographing and executing a single shot. For example, the Softbank commercial shot with Brad Pitt, Anderson uses fast moments in the dolly system to quickly set up and tell a story.
One of the most striking elements in Anderson’s films are the use of symmetrical framed shots. Symmetry and centralization in his films are impossible to ignore and hard to dislike. Anderson’s use of symmetry creates points of interests. But according to film scholar David Bordwell, the centralization created by Anderson use of symmetry helps drive your eye to the main items in a shot. So by using symmetry, Wes Anderson makes the audience look exactly where he wants them to look. Without the use of symmetry, many of the shots is Anderson’s films would appear too busy or even chaotic. With the use of symmetry however, the curve becomes a stimulating visual shot easily understood and powerfully effective. Wes Anderson mastered the art of symmetry perfectly. And thus handles the powerful visual aids; capable of relating complex meanings on screen.
Conclusion
Wes Anderson is a modern auteur through his consistent visual and narrative vogue portrayed in all of his films. His distinctive style has gained him attention, further through mainstream cinemas. Speaking about Anderson's style, the colours in his films unified the characters and also the world and he paints a motion picture that is equally amusing and emotionally heart-warming. Anderson’s heightened focus of the mise-en-scène permits his story to be impactful visually and emotionally. His awareness and assemblage of the framing of a scene turns a passive viewer into an active viewer through the sharp focus of everything within a scene. From the gorgeous colour palettes and patterns to the framing and tracking of the camera, it is no surprise that Wes Anderson is seen as a visual director and auteur within the additional indie facet of Hollywood.
References:
- https://en.wikipedia.org/wiki/Wes_Anderson https://www.imdb.com/name/nm0027572/
- https://www.indiewire.com/2018/03/wes-anderson-best-commercials-short-films- 1201942532/
- https://www.marksimonson.com/notebook/view/RoyalTenenbaumsWorldofFutura
- https://www.nme.com/blogs/the-movies-blog/50-geeky-facts-wes-anderson-2086397
- https://www.youtube.com/watch?v=g0u0oEUcasU
