The scenes you just watched were taken from movies by director Wes Anderson
But I probably didn't have to tell you this
Whether because you've already read the title of this video
or because just a few directors have a style as striking as his
It's what people call being original
And what many people associate with a magical creation of something completely new
When, in fact, it has much more to do with a creative combination of different influences
Because he creates his own identity in his work, in his movies
This identity is constituted by a polyphony of voices, of authors and of influences that he have
As we also have in our own lives
It is possible to notice this both in the choice of soundtracks,
stuffed with 70's rock music and classical tunes
And in the camera movements and compositions he uses
often inspired by films by Kubrick, Orson Welles and Truffaut
But the influence that makes these movies even more peculiar comes from animation
It is very easy to find texts pointing out
all the references that Wes has made to A Charlie Brown Christmas through his career
but the similarities between the Christmas special and Wes Anderson's films
go way beyond the monotonous way in which the characters speak
or the crises experienced by extremely mature children
More than that, his films seem to inhabit the world of animation
Just take a look at how he chooses to show violence in his movies
when talking about the subject, few people associate the theme with Wes Anderson
But the truth is that violence is something present in all his films
But these violent acts and accidents end up being faced with the same seriousness
that the Coyote's ragged plans
And the aesthetic choices he makes, help to reinforce this cartoon aura
Whether for the use of strong colors and a preference for pastel shades,
for the perfectly constructed scenarios
or for the composition
with symmetrical frames that make any environment artificial
This is where Wes uses a technique that Professor David Bordwell calls
planimetric composition
In most films,
the characters are often shown in positions that highlight the diagonal lines
This emphasizes the depth and three-dimensionality of the frames
In the planimetric compositions,
the characters are positioned at an angle perpendicular to the camera
Which ends up flattening the image and gives the impression that we are watching a world
that has two dimensions
It's obvious that Wes is not the only one much less the first
to use this composition technique
That can be seen in silent movies and even in the films of Jean-Luc Godard
But in such cases, the technique is often used at specific times
Few films have planimetric compositions as a basis
and even fewer directors take this technique as a style
Precisely because it's not easy to maintain this approach throughout the whole film
And to achieve this, Wes uses an editing method
which Bordwell calls compass-point editing
In the compass-point editing, the cuts alternate between planimetric frame
that are exactly 90 degrees or 180 degrees from the previous one
To understand it better, let's watch this scene
where the characters Gustave and Madame D are talking
This is the initial frame
And here we see the first cut
to a frame that is exactly 90 degrees from the previous one
And here the second cut
where the frame has undergone a 180 degree change
to show the character's point of view
This is just an example, but this dynamic happens throughout the whole film
And the planimetric composition doesn't affect only the way the films are edited
It also changes the way the characters move on screen
It's because of it that the way they move is basically parallel to the camera
or perpendicular to it
And the diagonal movements are very rare
This combination of composition, editing and movement
In addition to giving that feeling of a two-dimensional world
It also helps to create a comical and innocent flair in all scenes
which is further evidenced by the soundtrack
Wes has always liked to use sound effects that seem to have come straight from a cartoon
But it was only in 2009 that he started working
with a composer famous for helping to create fantastic worlds
And this partnership has a great influence of Carl Stalling
who was the composer of the initial episodes of the Looney Tunes
And who has created practically all the sounds we relate to cartoons
Thus, when in Wes's films, stop-motion animals
appear among flesh and blood characters
everything looks completely natural
He sometimes makes use of the technical aspects of movies
of his rigor in directing, of the art department
of sound and a series of elements
that work on his movie
not obeying necessarily a textual subordination
but they exist because they need to exist within the aesthetic concept that he elaborates for his film
The director uses all of this for the benefit of the story
Choosing songs and colors that highlight personalities and emotional tone of the scenes
The meticulous positioning of the characters
to give information about their relationships
and the not too subtle symbolism to represent moments like this
when the brothers from The Darjeeling Limited leave their emotional baggage behind
literally
This contrast between the animated world and melancholy in the films directed by Wes Anderson
help to emphasize the sense of not-belonging his caracthers have
Always in search of their place in the world
Whether looking for a great love,
dealing with grieve, with depression
Or simply seeking for a family
And when you least expect it
The ridiculous situations that once only made you laugh, now thrill
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