For this unit we either had to create a fan-zine or a documentary on a subject we liked.

1. Documentary
Matthew-Burniston

2. Research

3. Studio Binder Documentary
Link: https://www.youtube.com/watch?v=lr1LQFnGTVs&t=5s
Who made it?
Studio binder is a company that's both based on YouTube, that also produces online tools for
online film makers – such story boarding layouts, script writing, etc..
What is it?
This video is a breakdown by actor, turned director, Alex Wolff, of his The Cat And
The Moon. Going over what it took to make it, what his ambitions for the film
was/is, with visual breakdowns, overall.
The itself is intended to be more realistic teen drama film, being very down to
earth. Whilst the protagonist's mother is in rehab, he comes to New York to spend
time with his friends and family.
Why was it made?
This was made for othere aspring directors or people who are just commonly
intrested in film. This being cattered to these aduiences (much as my own product
will,) by disccussing how they achieved this – acting quite motivational to this
audience. But also educating them with the techniques of visual story telling.

4. Wes Anderson Inspired Short Film
Link: https://www.youtube.com/watch?v=TmweTa-bvOU&list=WL&index=4&t=0s
What Has worked/Made It Feel Authentic?
A lot of the presentation, lighting and colours are bang on, I could see a lot of this fitting
straight into a Wes Anderson film, asides from the topic/story of the production. Not to
mention the camera movements, the framing and narrations.
What Doesn't Make It Work?
Some of the props, locations and costumes are a bit too modern and out of place for a Wes
Anderson film, him usually favouring vintage, not modern. An example of the is can be things
like the T-shirts or the sparkelling white kitchen that lacks colour, whilst Anderson is also
famous for his use of colour and color schemes.
Comparison
It’s a slightly informative product in the style of Wes Anderson, telling the story of easter in
comical way. However, its very loosly factual and has narrative parts to it with leading
protagonists. I can see myself using a lot of this kind of top-down presentation style for the
style of Anderson in my product, though only using abosoulute facts (despite using a fictional
presenter to display it. Another difference willl be the kind of colour scheme lighting and
loctions. For my product I will only be using only one location and one actor. I will also be
using a royal crimson and gold to compliment the theatre I will be filming in.

5. Planning

6. Concept
My first idea is the journey of Wes Anderson's directing career – with
visual inserts with me talking, imitating his visual auteur.
• His first feature film coming from his short film 'bottle rocket.' E.g his
way into the world of directing.
• His development with each film – what's new or old? How much of an
impact his animation work has influenced his real work.
• What's his creative process.
• Look into how he colour grades and incorporate it into my video.
• I will be also seperating the piece into chapters (like a book,) as Wes
Anderson does himself.

7. Audience Appeal
• My product will target both aspiring directors and fans of
Wes Anderson alike. As I will be choosing to both obtain is quirky style
(as if watching another his films,) whilst providing an insight. into the
journey of his career as an artist director. Aspiring directors will
further find this interesting as it will allow them to figure out what
kind of journey, they may have to embark on.

8. Research

9. Style - How Does He Use Colour?
• In his films he often uses colour schemes – like in 'The Grand Budapest Hotel' he uses bright colours to fit
the doll's house feel to the film, whilst using blunt natural colours to 'Moonrise Kingdom' to fit the natural
survivalist setting in the film.

10. Style - How Does He Use Visuals?
• Other than whip-pans and tilts, Wes Anderson usually leaves the camera static. Though occasionally using a
tracking shot when following a character.
• However rule he never bares exception to is his rule of symmetrical framing. Using symmetrical framing in
every shot possible.
• He will also be found using costumes of costumes, even quoting for his apperception of costumes in film.
• Whilst for sets and props he likes to use vintage and colourful settings – like old-timey typewriters and
phones.

11. Style - How Does He Use Costumes And Props?
• Props, costumes and sets alike, Wes Anderson seems drawn to more vintage items, often dating back to
around 60s (though seen more prominent through his later repertoire of work.
• He also furthermore fits these costumes to match the colour scheme.

12. Style - How Does He Use Dialog/Music/Sound?
• When speaking characters often speak very formally, though
occasionally breaking this for comedic affect – such as Mr Moustafa in
The Grand Budapest Hotel.
• Furthermore, the older characters tend to act more like children,
whilst children often act more like older characters.
• For music, Wes will often stray to foreign music (often French.)
Though classic rock music isn't too far from his taste either.

13. Mood Board

14. Pre-Production

15. Chapter 1 : Humble Beginnings
Bottle Rocket was Wes Andersons great beginning. Both Wes Anderson and Owen
Wilson would later write the screenplay for this – having gone to the same
University in Texas. Having both shared a play writing class (though not ever talking
in class but meeting the next semester.) Whilst getting to know each other better,
they would later discover each other's passion for film. When the pair started
writing the script, they intended in making a film like the godfather or good fellas.
However, overtime as they were writing it came apparent, they didn't have the
right background and felt that comedy would be a better style of genre for them to
write in. When writing they chose to write in a small coffee shop in Dellaca. With
the budget they had only enough money for black and white film.
Bottle rocket would later be entered and itself get into Sun Dance. This would later
lead to Wes to receive funding for his first feature film, (by the very same title,)
bottle rocket. Meaning he'd have to adjust the script itself to fit for the much longer
run time – opposed to that of the short. This would include more content such as
the love interest for Anthony in the story.
Sadly, despite best efforts, the film was a commercial flop. Despite this, they would
be again picked up (by a different studio) for the film Rushmore.

16. Chapter 2 : Second Times The Charm
In Rushmore, the play-write style that Anderson uses started to come out more, in
the way the story was told and presented. This being pushed through the usage of
theatre curtains being prominently used in the film, though still linking the
protagonist Max as he's a play writer in this film. This film would also lead strong
connection to Anderson's experience at school (himself often putting on plays as
Max had.) Another step up from where bottle rocket was having someone like Bill
Murry (originally not believing they'd get him due to money restrictions, though
actually writing the part for him,) in the supporting, though the rest of the cast
were very much newer faces or lesser know. Not to mention that Bottle Rocket was
quietly released, where this would be allowed a much louder voice. So it wouldn't
have to wait to pick up a sort of cult following. Despite the big change on his
second film, he would use the same crew from before, that worked with him on
bottle Rocket, feeling a lot more comfortable and confident already knowing them
and what they could do.

17. Chapter 3 : Le Revolution
In 2009, Wes Anderson would direct his first animated feature (-though not his fist
time working with animation, as he worked with stop motion on a previous film –
The Life Aquatic With Team Zissou. Using it to bring his fictional creatues to life.)
For this, he would adapt the Rohl Dahl clasic, Fantastic Mr Fox to life, though a
more philosophical focus – using the protagonist Mr Fox as his way to this, with
hidden meaning potrayed by his fear of the wolf – the inner beast within him.
One of his more noticeable change was with his animation work on the Fantastic
Mr Fox. Being his first (of currently) two animated films he's made, we can see a
stlye changes after – with things like his use and command of colour, directing his
cast and the way he moves camera. These changes would at its most noticibilty in
The Grand Budapest hotel – whilst also the film where his aueter would come
through at its stronger.

18. Making My Language Formal

19. Main Shots
Shot 1: Opening shot,
tracking the character
as he finally takes his
seat.
Shot 2: Long shot of
the character
addressing the camera
(personally.)
Shot 3: Range of title
card – a different title
card will be used for
each segment of the
documentary
Shot 4: Shot of the
cinema screen with the
curtains pulling back,
whilst displaying
images that correspond
to the dialog.
V

20. Costume Inspiration
Looking for a costume I would like to dress myself as a director
would in the Anderson world. Taking both inspiration from his
own characteristic dress sense, but a more classical directors'
appearance.
Wes tends to dress in a tie, shirt and suit but
not the usual taste – being known for his
tweed, occasionally baring a knitted tie?

21. Getting The Costume
Not having a budget on this film, I asked around friends to see if I had any of the bits I needed; a
tweed jacket, with a red turtleneck, myself already owning smart shoes and smart black trousers.
After all my idea generation of wanting something based
around Wes Anderson's actual style, meets a vintage
director, I produced the idea of having a look of Wes
Anderson meets the (older) Zero in The Grand Budapest
Hotel. Keeping the red turtleneck as it went with colour
pallet of the location I wanted, with the tweed jacket
matching Anderson himself.
Despite what I asked for, this was the
best I could get (to date and minus the
black trousers as they weren't to hand at
the time.) However I did have to pin up
the turtleneck. Furthermore, though
asking for a jacket, not a coat, it wouldn't
be a change I'd hate. As I'm often seen in
a lot of my films in coat, this makes it
appear like myself, in the Wes Anderson
style – as if I were put in his world
myself.

22. Locations
Setting and purpose: Location: Contact:
Vintage Cinema/Theatre
If possible - good walking room for trackings
shots – both from side and front. But also needs
to have the vitage and semetrical suitibilty for a
Wes Anderson feature.
York College Lecture Theatre Email:
jroberts@yorkcollege.ac.uk
Number:
N/A
Ritz Cinema (Thirsk) Email:
N/A
Number:
01845 524751
Harrogate Theatre Email:
boxoffice@harrogatetheatre.co.uk
Number:
01423 502116

23. Contacting Locations

24. Production

25. Filming
When getting to the cinema I
realised that the cinema wasn't
as close to the colour scheme I
had originally intended, though
the addition wasn't too bigger
offset and allowed my trousers
to further blend into the newly
adapted colour scheme.
However I would later add such a
heavy red colour scheme when
editing in Adobe Premier Pro.
With the lighting I would use a
basic lighting set, attempting a
soft and leveed lighting, much to
the director's style.
Curtains and screen effect.
Top down shot
Cimetrical, medium shot and ratio

26. Evaluation

27. Production Note
Sadly, just after editing together my documentary, my laptop would die
before being able to upload my work and lose all the progress I had
made in finishing. However I would still have a really early render of my
product uploaded to YouTube and would only require a couple fixes
needed – like the part one title card, the addition of the curtains
inspired by those used in the life aquatic and the biggest difference
being quickly editing back in the clips (with speed being demanding
due to deadlines.)

28. Self-evaluation
Pros
• A lot of the shots I did looked like it could be in Wes Anderson, having recreated a lot of shot,
compositions and colour schemes as he's done.
• To attempt to overcome the trouble of lighting and focus shots in the cinema, I got a cut out part
of the image, ran it through AI upscaling software, de-noised it and implemented it back over the
footage as a mask
• The title cars look genuine to his style.
Cons
• My performance was poor as I stumbled over my lines and didn't completely stick to the
script.
• My camera man didn’t turn up which restricted movement with camera and left me
without a test subject for lighting and focus.
• The lighting in cinema is very dark and grainy.

29. Biblography

30. Bibliography
Websites:
• N/A. (2019). Bottle Rocket. Available: https://en.wikipedia.org/wiki/Bottle_Rocket. Last accessed 28th Nov 2019.
Adverts:
• Anderson, W. (2013) Prada Candy L'eau.
• Anderson, W. (2016) Come Together: A Fashion Picture in Motion.
YouTube Videos:
• Planet Thunder. (2017). Wes Anderson's Bottle Rocket: The Triumphant Failure. Available:
https://www.youtube.com/watch?v=q7RLyI-PD4Q&t=107s. Last accessed 28th Nov 2019.
• Irving Archives. (1996). Bottle Rocket. Available: https://www.youtube.com/watch?v=s6rH11uvGro&t=45s. Last accessed 28th
Nov 2019.
• Max Rollason. (2017). Ava's Grand Escape - A short film inspired by Wes Anderson. Available:
https://www.youtube.com/watch?v=OQRLOWvK3Jc. Last accessed 27th Nov 2019.
• TheOffCameraShow. (2016). Luke Wilson Thought 'Bottle Rocket' Was The Only Movie He'd Make. Available:
https://www.youtube.com/watch?v=tPLpSURxWNA&t=47s. Last accessed 26th Nov 2019.
• Bo Wright. (2016). A Wes Anderson Style Easter Video. Available: https://www.youtube.com/watch?v=TmweTa-
bvOU&list=WL&index=4&t=0s. Last accessed 12th Dec 2019.

31. Bibliography
YouTube Videos:
• Kellan Reck. (2019). 7 WES ANDERSON Style Shots in 3 Minutes. Available: https://www.youtube.com/watch?v=muqE8bRoIOk. Last
accessed 19th Nov 2019.
• Studio Binder. (2019). Hereditary Actor Alex Wolff Breaks Down His Movie 'The Cat and the Moon' | In The Frame. Available:
https://www.youtube.com/watch?v=lr1LQFnGTVs&t=5s. Last accessed 28th Nov 2019.
Books:
• Zoller-Seitz, M. (2013). The Wes Anderson Collection. New York: Abrams. p0-p366.
• Zoller-Seitz, M. (2015). The Wes Anderson Collection: The Grand Budapest Hotel. New York: Abrams. p0-p256.
• Wilford, L. (2018). The Wes Anderson Collection: Isle of Dogs. New York: Abrams. p0-p256.
Films:
• Anderson, W. (1994) Bottle Rocket.
• Anderson, W. (1996) Bottle Rocket.
• Anderson, W. (1998) Rushmore.
• Anderson, W. (2001) The Roylal Tenenbaums.
• Anderson, W. (2004) The Life Aquatic With Team Zissou.
• Anderson, W. (2007) The Darjeeling Limited.
• Anderson, W. (2009) Fantastic Mr. Fox.
• Anderson, W. (2012) Moonrise Kingdom.
• Anderson, W. (2013) Castellow Cavalcanti.
• Anderson, W. (2014) The Grand Budapest Hotel.
• Anderson, W. (2018) Isle Of Dogs.