![]() Later Anderson films are notable for their specific, bright colour palettes and dominant hues, completely eschewing subtle shades. ![]() And while the shots are still precise, there’s room for some humanity and mess characters don’t sit dead centre of the screen, but somewhere that they naturally might in real life. ![]() But from there, it becomes less Brechtian – there are words on the screen to indicate Max’s extracurricular classes and locations occasionally, but they’re not as frequent or intrusive as in later films. Rushmore does open with an element of artificiality – literally, with theatre curtains that reveal a sign for both the name of the school and the name of the film. Rushmore, however, sits snugly between two eras of Wes Anderson Bottle Rocket as he finds his feet, and the rest of his career when his aesthetics are so immediately recognisable that they’re either beloved or irritating. Nothing in a scene is accidental narrative conventions are broken for aesthetic purposes, and this attention to detail along with the narration, interscene titles, and perfectly deadpan delivery aesthetically places The Royal Tenenbaums among later works like The Grand Budapest Hotel or Moonrise Kingdom. ![]() It’s so meticulously shot and perfectly spaced that you could draw a line down the middle of the screen and everything would sit perfectly either side of it its colours are crisp, bright, and carefully chosen within specific colour palettes for the character or scene, whether in Margot’s bathroom or the yellow tent. On the other hand, The Royal Tenenbaums, Anderson’s third film in 2001, feels quintessentially Wes Anderson from the second the titles begin. Nevertheless, Bottle Rocket, unlike later films like Grand Budapest Hotel, could perhaps be attributed to anyone else. He also works with people who would become frequent players in his films: Luke and Owen Wilson. However, these seem like experiments: he’s dipping his toe in things that he later wouldn’t dare to stray from. The film, Anderson’s second ever, is arguably a turning point in Anderson’s filmmaking at least aesthetically, it sees him coming into his own and finding the conventions that would come to be recognised as his hallmarks.īefore Rushmore there was Wes Anderson’s first full-length film, Bottle Rocket (1996), where we do see some of those fateful Andersonisms: titles, precise shots, close-ups. Rushmore, a film about a failing student (Jason Schwartzman) obsessed with extra-curricular activities, who befriends an industrialist and becomes infatuated with his teacher, turns 20 this year. Anderson had to perfect his craft the Andersonisms that would become signposts for a piece of his work from the first titlecard on the screen. But while the filmmaker’s universe is so completely and aesthetically him, it wasn’t always the case. Now, his aesthetic is so easy to pinpoint there’s an entire Instagram account with almost half a million followers dedicated to real-world places that look like they’re straight out of his world. Pastel hues, perfectly balanced mid-shots, carefully chosen set pieces and intricately detailed costumes – these are a few of the things that come to mind when we think of Wes Anderson.
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