The fictional worlds evoked in films by the director Wes Anderson have such a precise colouration – the very particular pastel-hues that paint the skies, drench the buildings and dress the characters, render Anderson’s shots almost dream-like. The hazy-hued lens through which we peer into the director’s unique world has a retro quality that casts his films in a nostalgia for a time that could have been. The muted pink of The Grand Budapest Hotel that makes the hotel itself the biggest character in the movie; the very particular French mustard that comes to define Gwyneth Paltrow’s Margot Tenenbaum in The Royal Tenenbaums; the vintage boy-scout green in Moonrise Kingdom.
Artist and Wes Anderson enthusiast Hamish Robertson says, “Anderson's colour palettes are integral to his cinematic ‘world-building’. His eye for art direction and fantastic attention to detail creates the appropriate space and tone for his characters to exist in – and for the viewer to lose themselves in. They ultimately become their own visual language, the way character themes are elaborated in cinematic scores, allowing an immersive visual experience whether the sound is on or not.”
Wes Anderson's The Grand Budapest Hotel was a welcome return to the screen for the director: the film's eternal spring pinks and yellows explode on the screen like an overstuffed bag of cake icing. Yet inside this treasure box with the detailed and finely crafted production design, cinematography and ensemble performances now associated with Anderson's later works deep, saturated jewel tones abound, not to mention different aspect ratios and palettes consistent with the passing of time.
Artist and Wes Anderson enthusiast Hamish Robertson says, “Anderson's colour palettes are integral to his cinematic ‘world-building’. His eye for art direction and fantastic attention to detail creates the appropriate space and tone for his characters to exist in – and for the viewer to lose themselves in. They ultimately become their own visual language, the way character themes are elaborated in cinematic scores, allowing an immersive visual experience whether the sound is on or not.”
Wes Anderson's The Grand Budapest Hotel was a welcome return to the screen for the director: the film's eternal spring pinks and yellows explode on the screen like an overstuffed bag of cake icing. Yet inside this treasure box with the detailed and finely crafted production design, cinematography and ensemble performances now associated with Anderson's later works deep, saturated jewel tones abound, not to mention different aspect ratios and palettes consistent with the passing of time.
No comments:
Post a Comment