How does Wes Anderson utilize Cinematographic Methods to fully

Willi a m H ig gin s

How d oes W es A nders o n u tili z e C in em ato gra p h ic M eth od s t o f u lly c re a te a n u n iq u ely

Anders o n e x p erie n ce ?

1.

A D eta ile d M ic ro w orld

A W es A nders o n p ro d u ctio n i n varia b ly i n vo lv es a r ic h m ic ro w orld , f r e q u en tly w it h a f o cu s

on t h e a rtis tic d ir e ctio n .

A nders o n ’s p ro d u ctio n s h av e b eco m e s y n on ym ou s w it h u n iq u e a n d

id io sy n cra tic p ro d u ctio n d esig n .

T his o ft e n l e a d s t o t h e f e eli n g o f o n e e n te rin g a h um an

dollh ou se

. S ets a re o ft im es c o m pre h en siv ely i t e m iz e d w it h a d en se n im ie ty o f d eta ils t h at o f

1

whic h e x p re ss a n i m pre ssio n t h at t h is w orld i s h om e t o a w id e v arie ty o f p artic u la r a n d

pecu li a r a d ven tu re s, o f w hic h w e a re n ot s e ein g o n c a m era .

T he w ay i n w hic h A nders o n

asse m ble s h is w orld s i s s o h ard t o d efin e a n d c o m pare d t o h is c o n te m pora rie s t h at o n e m ust

sim ply d esc rib e t h em a s a “ s in gu la r v is io n o f a q u ir k y u n iv ers e

”. S u ch a d esc rip tio n t e stif ie s

2

to t h e p ow er o f p ro d u ctio n d esig n a n d t h e v is io n o f a r e n ow ned d ir e cto r. I n n in e f e a tu re

film s, A nders o n h as w ork ed w it h f o u r d is tin ct p ro d u ctio n d esig n ers , s o i t i s c le a r t h at t h e

dir e cto r h im se lf e x erc is e s a g re a t d ea l o f c o n tr o l. C rit ic M att Z olle r S eit z d eem ed t h at

Anders o n u se s w hat h e c a lls “ m ate ria l s y n ecd och e

” – – S eit z m ad e k n ow n t h at m ate ria l

3

sy n ecd och e w as s h ow ca sin g a n o b je ct, l o ca tio n , a n d o r a rtic le s o f c lo th in g t h at d efin e

pers o n ali t ie s, r e la tio n sh ip s, o r e v en c o n fli c ts . E xam ple s o f u n iq u ely A nders o n m ate ria l

sy n ecd och e a re i n

?The G ra n d H ote l B udap est

?Gusta v H .’s ( R alp h F ie n n es) p erfu m e, C has ( B en

Stille r) a n d h is b oys j u m psu it s i n

?The R oy a l T en en ba u m s

?, o r S u zy ’s ( K ara H ay w ard ) b in ocu la rs

in

?Moon ris e K in gd om

?. W it h a ll t h is c o n sid ere d A nders o n ’s p ro d u ctio n d esig n a n d c o stu m in g

actu ally a d ds t o a n d e v en f u rth er d ev elo p s t h e s to rie s a s w ell a s t h e c h ara cte rs . C olo rs

se em in g a ffe ct t h e w orld t e n d t o b e a s h ad e o r t w o o ff o f t h e m ost o b vio u s r e n derin g: n ot

yello w , b u t “ m usta rd ”; i n ste a d o f b lu e, “ n av y ”; r a th er t h an g re en , “ m oss .” T hese c o lo rs

co n tr ib u te t o t h e o vera ll f la tn ess o f t h e i m ag e – – i t f e els l i k e a p aste l s to ry b ook i llu str a tio n o r

a m on och ro m ed t h ea te r s e t. M ea n w hile e a ch f ilm h as i t s o w n c h ro m atic l a n gu ag e. T hin k t h e

pacif ic b lu es w it h a p op o f c o ra l i n t h e

?Lif e A qu atic w it h S te v e Z is so u

? o r t h e e a rth y b ro w ns a n d

ric h y ello w s o f

?Fan ta stic M r. F ox

?.

1

?Donegan, John. “Into The Dol lhouse: How Wes Anderson Creates A Story.” ?

The Odyssey Online? , Odyssey, 24 Apr.

2017, www.theodysseyonline.com/did-you-bring-the-map.

2

?Lagac? , Rose. “PRODUCTION DESIGN PORN: Wes Anderson.” ?

Art Departmental? , 13 Jan. 2013,

artdepartmental.com/2013/01/31/production-design-porn-wes-anderson/.

3

?Zoller Seitz, Matt. “The Subst ance of Style, Pt 4 by Matt Zoller Seitz.” ?

Moving Image Source? , 9 Apr. 2009,

www.movingimagesource.us/articles/the-substance-of-style-pt-4-20090409.

2.

Child re n A ctin g l i k e A du lt s , a n d V ic e V ersa a n d t h e M an ch ild

Wes A nders o n h as s ta te d t h at C harle s M . S ch ulz , t h e c re a to r o f P ea n uts , i s a s ig n if ic a n t

in flu en ce o n h im , a n d c rit ic s h av e n ote d t h at C harli e B ro w n-li k e a rtic u la te n atu re o f W es

Anders o n ’s c h ild c h ara cte rs , t h e w ay t h ey t a lk a n d t h in k l i k e w ell- e d u ca te d g ro w n-u ps. A

gre a t e x am ple o f t h is w ou ld b e w hen S k ota k ( G ab rie l R ush ) ( M oon ris e K in gd om ), a 1 2 y ea r

old K hak i S co u t, d esc rib es a n oth er K hak i S co u t, S am ( J a re d G ilm an ), t o w hic h h e s ta te s “ I

ad m it , s u ppose d ly , h e’s e m otio n ally d is tu rb ed , b u t h e’s a ls o a d is a d van ta g ed o rp h an .

” S am

4

an d S u zy ’s s o p h is tic a te d r o m an ce , i n

? M oon ris e K in gd om

?is s e rio u s a n d s o b er i n i t s t o ta l

dev o tio n t o w him sy – – t h eir r e la tio n f e els l i k e i t c o m es o u t o f a G od ard p ro d u ctio n , b u t

sta rrin g 1 2 y ea r o ld s. T he a d u lt s i n A nders o n ’s f ilm s n ev er t a lk d ow n t o c h ild re n – – t h ey t r e a t

th em l i k e e q u als o r i n s o m e c a se s a s i n te lle ctu ally o r e m otio n ally s u perio r. I n

?Moon ris e

Kin gd om

? w e c a n s e e t h is w hen C ap ta in S h arp ( B ru ce W illi s ) s ta te s t o S am ( “ Y ou ’r e p ro b ab ly

a m uch m ore i n te lli g en t p ers o n t h an I a m , i n f a ct I g u ara n te e i t .

” A nd, i n t h is u n iv ers e ,

5

where c h ild re n a ct l i k e a d u lt s , i t o n ly s ta n ds t o r e a so n t h at a d u lt s w ou ld a ct l i k e c h ild re n .

The i n vers e o f t h e c o u ple i n

?Moo n ris e K in gd om ,

?ad u lt s M arg o t ( G w yn eth P alt r o w ) a n d R ic h ie

Ten en bau m ( L uke W ils o n ) f e el l i k e t w o t e en s w re stli n g w it h a f ir s t l o ve. “ I t h in k w e’r e g o in g

to h av e t o b e s e cre tly i n l o ve w it h e a ch o th er a n d l e a v e i t a t t h at R ic h ie

” ( T he R oyal

6

Ten en bau m s). A nd t h e “ m an ch ild ” i s a r e cu rrin g t r o p e. A nders o n ’s m an ch ild i s u n ab le t o

co p e w it h h is r e a li t ie s. H e t r ie s t o r e so lv e h is i s su es t h ro u gh j u ven ile m ea n s, i n

?Darje e li n g

Lim it e d

? w hen P ete r ( A drie n B ro d y) t r a v els t o I n dia i n ste a d o f b ein g w it h h is p re g n an t w if e

beca u se h e’s n ot r e a d y t o b e a f a th er. I n

?Rush m ore

? w hen H erm an B lu m e ( B ill M urr a y ) r u n s

over M ax F is c h er’s ( J a so n S ch w artz m an ) b ik e t o g et e v en . B ut i n A nders o n ’s s to rie s, i t ’s n ot a

bad t h in g t o b e a m an ch ild . T ak e t h e l e sso n R oyal T en en bau m ( G en e H ack m an ) t e a ch es h is

fa m ily , h ow t o r e co ver t h at j o y, o f b ein g i r re sp on sib le l i k e a k id . O vera ll, A nders o n ’s

ch ara cte rs t e a ch u s t h at a d u lt s c a n l e a rn t o r e la x a n d h av e a l i t tle m ore f u n l i k e c h ild re n ,

while c h ild re n c a n b e a l o t m ore d ir e cte d , s e rio u s a n d i n gen io u s t h an w e t e n d t o t h in k

.    7

4

?Anderson, Wes, director. ? Moonrise Kingdom?

. Universal, 2012.

5

?Anderson, Wes, director. ? Moonrise Kingdom? . Universal, 2012.

6

?Anderson, Wes, director. ? The Royal Tenenbaums?

. Universal, 2001.

7

?Purdom, Clayton. “The Wise C hildren and Immature Adults of the Wes Anderson Universe.” ?

AV News? , AV News, 4

May 2017, 3:07 PM, news.avclub.com/the-wise-children-and-immature-adults-of-the-wes-anders-1798261455.

3.

“U nglu ed ” C hara cte rs

Anders o n h as s a id h e t h in ks t h ere i s h um or i n a c h ara cte r b eco m in g “ u n glu ed

” a n d t h at

8

fa lli n g a p art c a n b e f u n ny. M att Z olle r S eit z o b se rv es t h e i n flu en ce o f O rs o n W elle s a n d

Anders o n ’s f o cu s o n i m pre ssiv e m en w ho a re d ete rio ra tin g. S eit z w ro te “ A nders o n ’s f ilm s…

are f ille d w it h l o q u acio u s, c o m bativ e, o ft e n h yp er-a ch ie v in g i n div id u als …

” F or a n e x am ple

9

narra tio n i n r e fe re n ce t o M arg o t i n

?The R oy a l T en en ba u m s

? s ta te s t h at “ S h e w as a p la y w rig h t

an d w on a B ra v erm an G ra n t o f f if t y t h ou sa n d d olla rs i n t h e n in th g ra d e.

” S eit z c o n tin ues

10

“w ho s e em f u lly f o rm ed a n d s e cu re i n t h eir i d en tit ie s” A noth er e x am ple , a g ain f r o m

?The

Roy a l T en en ba u m s

?th at p ro ves t h is p oin t i s w hen M arg o t s ta te s “ Its o k ay . I ’l l t e ll y o u . I ’m

ad op te d . D id y o u k n ow t h at? ” L astly M att Z olle r S eit z s ta te s “ .. . w ho ( t h e c h ara cte r) r e v ea l

th em se lv es t o b e d eep ly d am ag ed b y c la ss a n xie ty , s o cia l e x p ecta tio n s a n d f a m ily

dysfu n ctio n .” W e c a n s e e t h is a g ain i n

?The R oy a l T en en ba u m s

?when t h e n arr a tio n s ta te s “ S h e

was k n ow n f o r h er e x tr e m e s e cre cy . F or e x am ple n on e o f t h e T en en bau m s k n ew s h e w as a

sm ok er, w hic h s h e h ad b een s in ce t h e a g e o f 1 2 .” A nd e v en i f c h ara cte rs a re n ’t a lw ay s

wea lt h y o r u pper-c la ss, t h ey t e n d t o b e c u lt u ra lly r e fin ed a n d i n te lle ctu ally s u perio r. B ut

oft e n s u ffe r a s a r e su lt o f a d ysfu n ctio n al o r f r a ctu re d f a m ily r e la tio n sh ip (s ).

8

?Babb, Francesca. “Wes Ande rson: ‘I Don’t Think Any of Us Are Normal People’.” ?

The Guardian? , Guardian News and

Media, 18 May 2012, www.theguardian.com/film/2012/may/19/wes-anderson-moonrise-kingdom.

9

?Zoller Seitz, Matt. “The Substance of Style, Pt 4 by Matt Zoller Seitz.” ? Moving Image Source?

, 9 Apr. 2009,

www.movingimagesource.us/articles/the-substance-of-style-pt-4-20090409.

10

?Anderson, Wes, director. ? The Royal Tenenbaums?

. Universal, 2001.

4.

Fam ily D ysfu n ctio n a n d F ra ctu rin g

The T en en bau m c h ild re n a re t h e p ro d u ct o f o n e p are n t w ho c a re s a l o t, c le a n in g t h e h ou se ,

ra is in g t h e c h ild re n a n d k ep t t h eir e d u ca tio n a s a h ig h p rio rit y , a n d a n oth er w ho c a re s t o o

li t tle . M ax F is c h er s p en ds m ost o f

?Rush m ore

? e m barra sse d b y h is f a th er’s p ro fe ssio n a s a

barb er a n d a ttr a cte d t o H erm an B lu m e’s s u cc e ss. A t o n e p oin t e v en s ta tin g “ H e’s ( M ax ’s

fa th er) a n eu ro su rg eo n , a t, u h , S t. J o se p h ’s H osp it a l

.” I n

?Darje e li n g L im it e d

? t h e W hit m an

11

bro th ers ( J a so n S ch w artz m an , A drie n B ro d y, O w en W ils o n ) f e el a b an don ed b y t h eir m oth er,

an d t a k e a c ro ss-In dia t r a in t r ip t o r e h ash f a m ily i s su es w hile c a rry in g a ro u n d t h e l i t e ra l a n d

fig u ra tiv e b ag gag e o f t h eir d ece a se d f a th er.

?Moo n ris e K in gd om ’s

?Bis h op f a m ily s h ow ca se s a n

en tir e h ost o f i s su es f r o m l a ck o f r e sp ect t o d is in te re st t o i n fid eli t y . I t’s w it h in t h e

dysfu n ctio n o f f a m ily t h at A nders o n d eriv es e n te rta in m en t, a n d h e p re se n ts f a m ily a s n ot

on ly t h e s o u rc e o f c o n fli c t, b u t a ls o t h e s o u rc e o f r e so lu tio n – – t h e W hit m an b ro th ers w ork

th ro u gh t h eir i s su es a n d i n t u rn t h ro u gh t h eir r e la tio n sh ip . O nce R oyal T en en bau m

re -e n gag es w it h t h e f a m ily , t h e T en en bau m s s ta rt t o h ea l. I n

?Rush m ore

?Max a cc e p ts w here

he’s c o m e f r o m , s ta tin g “ I’d l i k e y o u t o m eet m y f a th er B ert F is c h er. H e’s a b arb er

.” h e t r u ly

12

flo u ris h es. I n t h e e n d A nders o n ’s f ilm s c e le b ra te t h at f a m ily , i n w hate v er f o rm , i s a s p ecia l

bon d, a n d w e d on ’t n eed t o f o rc e e v ery th in g t o f it i n to a c o n ven tio n al f o rm ula .

11

?Anderson, Wes, director. ? Rushmore?

. Universal, 1998.

12

?Anderson, Wes, director. ? Rushmore? . Universal, 1998.

5.

Esc a p is m

At f ir s t g la n ce i t s e em s t h at A nders o n ’s w ork i s e sc a p is t – – a n d i t i s , i n a c e rta in w ay . I t

in vit e s u s t o d is a p pea r i n to t h ese c a re fu lly c u ra te d t a b le a u s a n d i d io sy n cra tic c h ara cte rs . B ut

wit h in t h at e sc a p e, w e’r e s u rp ris e d t o e n co u n te r d ark t o p ic s a n d t e n der h um an it y . A s

ex p la in ed b y G usta v H . i n t h e G ra n d B udap est H ote l “ Y ou s e e t h e f a in t g li m mers o f

civ ili z a tio n l e ft i n t h is b arb aric s la u gh te rh ou se t h at w as o n ce k n ow n a s h um an it y .”