2023-06-28 19:25:05
Not everything is camera movement, acting and photography: there is also decoration. Aesthetics is essential in a meaningful staging, and there are directors who are true masters, with a special talent for handling colors and shapes. Wes Anderson is one of them.
The director of the Grand Budapest Hotel and The Eccentrics Tenembaun, among other films, delivers true lessons when it comes to creating each of the scenarios in which his cinematographic works take place.
In detail
Color care in Trip to Darjeeling.
For the specialist Mónica Heras Berigüete, there are three keys to understanding Anderson in his decoration lessons: “An impeccable use of the color palette, an innate gift for proportions and symmetry, and an aesthetic bathed in nostalgia. With this, Anderson has become a benchmark in terms of decoration, regardless of whether you like her movies or not.
Something that identifies the director is the use of the color palette. Those who watch her films associate her with pastel colors and, although there is much truth in that, Anderson also even dabbled in greys, browns and black, details that can be seen in the film Isle of Dogs.
To appreciate his work with color, you can visit the Tumblr site Wes Anderson Palettes, where you can see the gear he makes, not only in each film but with each scene.
From the pinks of the appetizing pastry shop of The Grand Budapest Hotel, the yellows and olive green in A Kingdom Under the Moon, the ochres of Fantastic Mr Fox, the mustard color that dyes Gwyneth Paltrow in The Eccentrics Tenembaun, or those greens, blues and yellows seen during the Darjeeling Trip.
What it provokes through color is pure synesthesia, that reaction of our senses through which we evoke emotions without the need for words. And that is pure art” says Mónica Heras Berigüete.
praise of symmetry
Praise of symmetry and color in The Grand Budapest Hotel.
Another of the director’s hallmarks is geometry. It is not regarding his settings being even, that everything is like an identical, bucolic and square mirror. On the contrary, he recreates orderly and perfect places that fit into a story.
His sets are like little postcards that, in turn, are full of details. Each table, each library, each wall is a picture in itself”, affirms the expert.
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retro nostalgia
Unmistakable retro air.
Nostalgia is the third element present in Wes Anderson’s aesthetic. “Everything is bathed in a retro air, although with a touch of modernity hidden there. Look for classic pieces, antiques, objects that evoke travel, wallpapers, but everything with a meaning. No matter how ornate a decoration may seem, there will never be anything that does not fulfill a purpose”.
At home
If the scenes of his films are carefully observed, they always make a contribution to the decoration that can also be taken to private homes, not in a direct extrapolation but in details provided, for example, in a palette of pastel colors and linking it with the context. from your house; or, a vintage touch in some piece of furniture, with the lamps or even with the textiles.
Finally, the proportions, order and symmetry are aspects that you can take as a guide: two side tables in the living room, with a shelf from side to side in the background, as a distinctive touch, would be a faithful example.
Wes Anderson’s palette according to his films.
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