Wes Anderson Unveils the Untold Story Behind His Iconic Visual Style

Summary

Wes Anderson claims that he doesn't have an aesthetic, explaining that elements of his visual style were born from practical considerations.

Anderson refers to a scene in the movie Rushmore from 1998 where a baseball diamond is featured. He explains that he incorporated dolly shots into his filmmaking approach, which have since become a defining characteristic of his style. This decision was made due to unforeseen circumstances when the planned handheld filming became impractical due to flooding at the location.

In addition to dolly shots, Anderson's visual style encompasses various other notable elements. These include his preference for symmetry in framing, the use of soft and muted color palettes, the creation of sets reminiscent of staged tableaux, as well as the incorporation of longer takes, tracking shots, and quick whip pans.

Wes Anderson, renowned for his distinctive visual style, discusses the origins of his unique aesthetic. Anderson initially gained recognition with his film Bottle Rocket in 1996, and later solidified his status as one of the most captivating directors of our time with movies such as Rushmore and The Royal Tenenbaums. His latest release, Asteroid City, has been followed by his upcoming project, The Wonderful Story of Henry Sugar, scheduled for release on Netflix this week.

During a recent interview with Deadline, conducted to promote the forthcoming release of The Wonderful Story of Henry Sugar, Anderson addresses his visual style. Surprisingly, he claims, "I do not possess a specific aesthetic." Anderson then proceeds to provide further insight into the development of his filmmaking techniques. When the interviewer suggests that some individuals may challenge his statement about lacking an aesthetic, Anderson's full response can be found below.

"[Laughs] I completely understand! I myself can acknowledge, 'Yes, I can recognize that it's the same individual.' However, it's a creation, you see? The style I employed in Bottle Rocket was what I possessed at the time. It has since evolved in this film. And, with each subsequent movie, a significant portion is influenced by something we accomplished in the preceding one.

"For instance, people often mention my use of dolly shots, and Asteroid City commences with a lengthy one. We seamlessly transition from one location to another, moving about energetically. It's a particular approach to filming a sequence that is not commonly seen. And I employ it frequently."

I precisely recall the starting point and the reason behind it, which is quite uncommon in such situations. During the production of Rushmore, there was a specific scene set on a baseball diamond. I had meticulously planned out the entire sequence, envisioning a large gathering and utilizing handheld shots.

On the designated day, we arrived in the morning to find the field completely flooded. In an attempt to salvage the situation, I suggested we wait and observe how long it would take for the field to dry up. However, it became evident that if we were to proceed with filming on the baseball diamond, the scene would ultimately revolve around the muddy conditions. It was crucial for the scene's essence to be captured specifically within the confines of that baseball diamond, bounded by home plate and third base, so to speak.

There is a specific area called the dugout where the players go before going up to bat. Next to it, there is a strip. It was my decision to move everything to this area. We laid a large dolly track and filmed the scene in both directions, utilizing the limited set that we had.

After trying this approach, I thought it was intriguing and enjoyable. Since then, I have been exploring similar variations. The reason behind this is that the baseball diamond was excessively flooded.

Wes Anderson's Visual Style Explained

Frequently, I find that this is the natural progression when working on movies. Initially, you discover something you enjoy, then you explore it further, altering it slightly. Eventually, you reach a point where you decide to experiment with a different approach and veer in a new direction.

While Anderson's "aesthetic" may stem from practical considerations, there are certain visual elements that undeniably pervade all of his films. Symmetry emerges as a prominent feature, as shots are frequently composed to create a sense of balance or even a distinct demarcation between the left and right portions of the screen. In individual shots, characters often occupy the center of the frame, while two-shot sequences often place two characters in direct opposition to one another.

Production design also plays a crucial role in Anderson's movies. Many of his films showcase a color palette dominated by pastel tones, which is particularly evident in the 2014 film, The Grand Budapest Hotel. This pastel color scheme is complemented by sets that resemble tableaus, resembling something one would expect to see in a stage production rather than a film. These elaborate sets often incorporate "frame within a frame" shots, featuring characters positioned within windows, doorways, or other square or rectangular spaces.

In addition to production design, Anderson's visual style is shaped by the use of longer takes, tracking shots, and whip pans. These cinematic techniques are consistently featured throughout his filmography, including in recent movies such as The French Dispatch and Asteroid City. These visual flourishes are accompanied by other signature Anderson elements, such as matter-of-fact dialogue and recurring actors. Stars such as Bill Murray, Jason Schwartzman, and Owen Wilson frequently appear in Anderson's films.

Source: Deadline