The films by Wes Anderson look completely different from the majority of film directors. Every frame is like the cover of an album – beautiful, rich in colours, and with a masterful symmetry. Wes Anderson is the most straightforward director in modern cinema today, but his films are both peculiar and visually informative at the same time.The style of Wes Anderson is a lot more intentional. It seems easy, but it is complicated. The audience enjoys a sophisticated film which feeds information on spoons. His tales are definitely enjoyable, and he is one of the few working directors capable of pulling off major stage settings. Below is a clip of Video essayist Kogonada making some excellent remarks on the artistic obsessions of some of the best formalists in the cinema.
Items that are put in the middle of a frame appear to have greater visual weight. If the point of interest is right in the foreground, what the photographer wants the viewer to pay attention to is very obvious. Imagine your frame where you place objects in and it lies in the middle. Balancing the left and right sides usually provides a feeling of equilibrium. Although going against the law of thirds, highly successful use may often be made of fully symmetrical framing with the point of concern in the exact middle. Many directors are slaves to harmony of their structure and can be incredibly efficient when employed properly.
Inspired by Wes Anderson’s composition style
Reference: kogonada (2014). Wes Anderson // Centered. Vimeo. Available at: https://vimeo.com/89302848
Ifeanyi, K.C. (2020). ‘Pandora broke my heart’: Tim Westergren, digital radio pioneer, returns to break the music industrial complex. [online] Fast Company. Available at: https://www.fastcompany.com/90494948/pandora-broke-my-heart-tim-westergren-digital-radio-pioneer-returns-to-break-the-music-industrial-complex.
StudioBinder. (2019). Wes Anderson’s Visual Style Explained [Filmmaker Essentials]. [online] Available at: https://www.studiobinder.com/blog/wes-anderson-style/#wes-anderson-style.
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