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- Any discussion of Robert Yeoman and his role in Wes Anderson's style would be incomplete without the mention of symmetry. Bob Yeoman’s shot compositions in Wes Anderson films are incredibly detail-oriented, not a single hair out of place. Each frame has a feeling of extreme balance, achieving an almost dollhouse look.
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Oct 19, 2015 · The symmetry, the camera movements, the beautiful lighting -- it all serves to create a world that is, strangely, both unique and nostalgic. In this video essay by Nick Hansbauer, we get to take a look at the work of Robert Yeoman, from his first job (uncredited) on To Live and Die in L.A. in 1985 to his almost 20-year collaboration with Anderson.
- The Look
- Symmetry
- Composition
- Set Design
- Costumes
- Props
- Cinematography
- Auteur Inspiration
- Wes Anderson’s Style
- How Has Wes Anderson’s Style Influenced Cinematography and Design?
Colour can influence mood and create atmosphere. Artists use its psychological effects to evoke feelings in a viewer and to tell a story. Anderson employs colour to an extraordinary degree. In The Life Aquatic with Steve Zissou(2004), there’s a prevalence of blue and orange shades in the sets and costumes, which reflect the marine environment and a...
Anderson is renowned for using symmetry in his films, which creates a sense of harmony and balance. While pleasant to watch, this kind of composition also contributes to the fanciful, beguiling appearance of his films. In almost every shot there is this symmetry. Those that focus on a single character almost always place them in the centre of the f...
Planimetric composition refers to the technique of making backgrounds seem flat in contrast to central figures in the foreground. Anderson makes liberal use of this and the constructed tableau vivant result heightens the highly constructed feel of his films. Moonrise Kingdom (2012)
Production designer Adam Stockhausen won an Oscar for creating the imaginative and fanciful set of The Grand Budapest Hotel (2014). He stated that Anderson has a very specific visual style and he outlines his vision meticulously. This necessitates that the set is designed frame by frame and adheres to Anderson’s stipulations about colour. Stockhaus...
The costumes in Anderson’s films are crucial for enhancing characterisation. Perhaps the best examples of this can be found in the clothing worn in The Royal Tenenbaums, designed by Karen Patch. Take Margot Tenenbaum’s (Gwyneth Paltrow) long fur coat. It reflects her icy and distant exterior, while also acting as a thick, warm layer of protection f...
Props are just as important to creating a unique film world as the set and costumes. Kris Moran worked as a set decorator and prop master on several of Anderson's films, including Moonrise Kingdom and The Royal Tenenbaums. Moran and her team work from Anderson’s detailed storyboard to bring the film to life. Moran credits eBay, thrift shops and ant...
The cinematographer Robert Yeoman has worked on all of Wes Anderson’s live-action movies, including the upcoming The French Dispatch. As symmetry is so important to Anderson, Yeoman has stated that he measures to ensure that the camera is exactly in the centre of every shot. He also prefers to use the sun as his main source of lighting, bolstered b...
To better understand the unique look of Wes Anderson movies, it’s important to look at the directors and films that inspired him. Japanese filmmaker Yasujirō Ozu’s style and subject matter made a big impression on Anderson. In The Royal Tenenbaums, for example, we see a dysfunctional family marred by separation and betrayal, which mirrors Ozu’s sim...
We can all recognise it easily, but how exactly can we describe Wes Anderson’s film style? Firstly, his work falls into the category of postmodernism. This can be defined as the intentional mixing of styles from different time periods, with a thematic focus on capitalism and over-consumerism. The anachronistic props we see in his movies, like the r...
Wes Anderson’s distinctive film style has had a big influence on modern culture and design and can be seen almost everywhere. In fashion, a huge number of big-name brands, includingLacoste, Gucci andLouis Vuitton have channelled The Royal Tenenbaumsin their collections. Anderson has also left his stamp on the commercial sector, directing adverts fo...
Mar 18, 2019 · Yeoman says. This exactness is incredibly important when symmetry and the need for very precise whip pans is so important to Anderson's style. Actors hitting their marks exactly is also crucial, but Yeoman says Anderson is usually the one to ask for that meticulous level of performance from the actors, so he doesn't have to be the "bad guy."
- Jo Light
Dec 8, 2023 · The director has worked with the same cinematographer, Robert Yeoman, since his first movie. Here the pair break down their most striking, complex, and strangely moving visual collaboration yet.
May 25, 2012 · His idiosyncratic style grows out of innumerable decisions about framing, focal length, color and editing. “Wes is a true auteur in the sense that it all comes out of him,” says Yeoman. “He is concerned with every detail. You can ask him any question and he will have a distinct answer.
Anderson adores symmetry, so much so that Yeoman will have his camera assistant measure out from the lens to the corners of the room when setting up for the wide shot to make sure the camera is placed dead-centre.
