The film opens with a static symmetrical tableau shot of a library book (called The Royal Tenenbaums) which is filmed from overhead (a birds-eye view), with the camera pointing directly down on the library counter.
These tableau images are further strengthened by a static camera and by centred framing (the characters are positioned in the middle of the frame), which add symmetry and stillness to these shots.Īnderson creates different combinations of these tableaus. Here the camera takes the place of the mirror, which means that these characters look directly into the camera. The characters are all introduced while looking into mirrors. Take the sequence where Anderson introduces us to his “cast of characters (22 years later)” (as the title card reads). Such images are immediately recognisable because they create a striking composition and a dramatic effect. This film is notable for its consistent use of tableau shots, where characters are formally arranged in the same plane facing the viewer. His typical combination of stylistic traits first emerged in his third feature film, The Royal Tenenbaums (2001). montage sequence with a soundtrack (especially rock or quirky instrumental music)īut to imitate Wes Anderson, you need to combine these ingredients in the right quantities.still camera or foregrounded camera movement.symmetrical framing (including centred framing).Numerous film scholars have identified the major features (ingredients) of Anderson’s style. When baking a cake, simply listing a few ingredients isn’t enough, the correct quantity of each is needed. Thinking of Anderson’s aesthetic in terms of a combination of features makes his style analogous to a recipe. The Wes Anderson style these media-savvy users are attempting to recreate is an elusive aesthetic that only emerges from a specific combination of features. But what we see with the current slew of pastiches is that they aren’t all successful. With a new film on the way, Asteroid City, social media is now sure to be flooded with more attempts at Anderson mimicry. This was started by Ava Williams, who posted a video of a train journey on TikTok with the line “You better not be acting like you’re in a Wes Anderson film when I get there”. In recent months, a new trend has sprung up on social media where people are romanticising the everyday in the style of Anderson’s films.
For instance, a Milanese metro train is Andersonian in its symmetrical design, pastel blue walls and bright yellow handrails. The Instagram page Accidentally Wes Anderson, which was founded in 2017, became incredibly popular for its photographs of real-life places that coincidentally fit the aesthetics of a Wes Anderson film. This visual-led approach to cinema has spawned many fans who seek out the Anderson look everywhere in life. This approach began for Anderson the moment he had Margot (Gwyneth Paltrow) step off the Green Line bus in his third film The Royal Tenenbaums (2001). Wes Anderson’s films can often be boiled down to a single striking image.
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