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An exploration of Wes Anderson’s style with
specific reference to cinematography in
‘Fantastic Mr. Fox’ (2009), ‘Moonrise
...
Focal Films
Fantastic Mr. Fox
2009
Moonrise Kingdom
2012
The Royal
Tenenbaums
2001
My aims of this research task are to expand on my knowledge of
the cinematography and style used within a Wes Anderson
fil...
Adaptation of a Roald Dahl novel.
‘Fantastic Mr. Fox’ is Wes Anderson’s first and
only stop-motion animated film.
Fantasti...
“Mr. Fox clarifies the essence of Anderson’s artistry, boiling his
themes and aesthetic down to storybook-simple moments a...
Anderson was influenced by Jean-Luc Godard’s ‘Pierrot le
Fou’ for certain aspects in ‘Moonrise Kingdom’:
• Couples on the ...
The Planimetric Shot
“The most striking aspect of these shots
in which characters often face the
camera and the style pull...
The Royal Tenenbaums (2001)
A common feature of any Wes
Anderson film is his larger than life
characters, and he mentions ...
Needle in the Hay
https://www.youtube.com/watch?v=9pyBB7y8
fDU
“Anderson uses rapid jump cuts to imply ellipses in time an...
Symmetry
“Symmetry is a very necessary
piece of his signature” – Andy
Crump (Item 9)
https://www.youtube.com/watch?v=tFI
7...
Colour Palettes
“The urban
confines of The
Royal Tenenbaums
and the flinty
coastal backdrop of
Moonrise
Kingdom.” - Andy
C...
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Wes Anderson: Style

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An exploration of Wes Anderson's style, with specific reference to cinematography

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Wes Anderson: Style

  1. 1. An exploration of Wes Anderson’s style with specific reference to cinematography in ‘Fantastic Mr. Fox’ (2009), ‘Moonrise Kingdom’ (2012) and ‘The Royal Tenenbaums’ (2001)
  2. 2. Focal Films Fantastic Mr. Fox 2009 Moonrise Kingdom 2012 The Royal Tenenbaums 2001
  3. 3. My aims of this research task are to expand on my knowledge of the cinematography and style used within a Wes Anderson film. I want to investigate in quite a large amount of depth the reasons Anderson chose this style and find out his inspirations and hopefully adapt this kind of quirky style into my own project. My research plan is to use as many sources as possible to find out Anderson’s inspirations and get into his kind of mindset. I feel using sources such as YouTube interviews, articles and books such as ‘The Wes Anderson Collection’ will help me achieve this. Introduction
  4. 4. Adaptation of a Roald Dahl novel. ‘Fantastic Mr. Fox’ is Wes Anderson’s first and only stop-motion animated film. Fantastic Mr. Fox (2009) https://www.youtube.com/watch?v=gYjfaYK27 1Q “It’s centred on a charismatic but selfish father figure who cares more about his own pleasures than his family’s needs.” – Matt Zoller Seitz Real animal fur was used on the puppets, despite it looking unnatural in different shots, but Anderson wanted this effect. Anderson’s trademarks are still used throughout the animation and make it visually obvious who the director is. Symmetry is largely used throughout along with the side tracking shots. The colour palette used creates the same Anderson effect, with the trademark shades of yellow.
  5. 5. “Mr. Fox clarifies the essence of Anderson’s artistry, boiling his themes and aesthetic down to storybook-simple moments and gestures.” - Matt Zoller Seitz (Item 6) “The trademark visual flourishes are firmly in place: on-screen text, direct overhead shots, inventive foregrounds, elaborate side tracking shots (both horizontal and vertical). The classic rock cues are present (this time, two Beach Boys and one Stones), as is the customary dry wit (here augmented by occasional, bizarre, and hilarious outbursts from his characters that serve as sporadic reminders that they are, in fact, animals).” - R. Kurt Osenlund (Item 7)
  6. 6. Anderson was influenced by Jean-Luc Godard’s ‘Pierrot le Fou’ for certain aspects in ‘Moonrise Kingdom’: • Couples on the run: Both films consist of young couples who escape their lives to run away, yet obviously they’re very different situations. • Similar style for female protagonists: The mid-60s aesthetic is commonly used for costume in both films and reflects their youthful and innocent nature. • Props: Miscellaneous objects are used in both films and props are especially meaningful in ‘Moonrise Kingdom’. • Direct address: Godard breaks the fourth wall and allows his characters to directly address the audience, which Anderson allows a narrator to do. Moonrise Kingdom (2012) “When I’m making a movie, what I have in mind, first for the visuals, is how we can stage the scenes to bring them more to life in the most interesting way, and then how we can make a world for the story that the audience hasn’t quite been in before.” – Wes Anderson (Item 12)
  7. 7. The Planimetric Shot “The most striking aspect of these shots in which characters often face the camera and the style pulls attention towards itself, is their self- consciousness.” – Lotte Philipsen The shot is taken from the French New Wave (the group of French filmmakers in the 1950s/60s). E.g. Jean-Luc Godard. This shot tends to create a deadpan comic quality to the film, which is one of Anderson’s features. “Although Anderson only literally breaks the fourth wall in Moonrise Kingdom, all these frontal shots remind the audience of presentational performances such as plays” – Lotte Philipsen
  8. 8. The Royal Tenenbaums (2001) A common feature of any Wes Anderson film is his larger than life characters, and he mentions in The Wes Anderson Collection that the qualities he likes of Orson Welles as a director are the fact he’s not particularly subtle, he likes the dramatic camera move and the larger than life characters, which seem to influence Anderson, especially in The Royal Tenenbaums. “He likes the big effect, the very dramatic camera move” – Wes Anderson on Orson Welles
  9. 9. Needle in the Hay https://www.youtube.com/watch?v=9pyBB7y8 fDU “Anderson uses rapid jump cuts to imply ellipses in time and flashbacks to divulge to the viewer what is happening inside Richie’s head as he seeks to end his life” – Robyn Greenfield The over the shoulder shots allow us as an audience to look at Richie as he sees himself. The colour and lighting convey his despair and when he turns the light on we are able to see his anguished expression more clearly. The steam in the background adds to the dark and eery atmosphere. The point of view shot of Richie’s bleeding wrists emphasize the composition that Anderson wanted in order to frame his wrists alongside the discarded wristband and hair. “The light foreshadows hope and the possibility of Richie surviving. The darkness surrounding him coincides with the scene’s depressing tone.” – Robyn Greenfield
  10. 10. Symmetry “Symmetry is a very necessary piece of his signature” – Andy Crump (Item 9) https://www.youtube.com/watch?v=tFI 7_bH7E-M
  11. 11. Colour Palettes “The urban confines of The Royal Tenenbaums and the flinty coastal backdrop of Moonrise Kingdom.” - Andy Crump (Item 9)

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