To those not familiar with him, Wes Anderson is a film director and screenwriter who has a peculiar and easily recognizable style when it comes to storytelling, both in visuals and narrative. His name has reached the mainstream not only due to the critical acclaim of his work, but because of its quirky style which is so often associated with indie cinema.
He has worked on ten feature length motion pictures since his directorial debut in 1996 with Bottle Rocket, co-written with Owen Wilson. Wilson went on to become one of Anderson’s recurring collaborators, which also include Bill Murray, Jason Schwartzman, and Anjelica Huston.
You might want to remember those names, because they will be mentioned frequently over the course of the following week. Why, you ask? Today marks the beginning of (7) Days of Wes Anderson, a blogging project that consists of watching his films and writing an assessment for each on a daily basis.
My goal is to analyse Anderson’s work in regard to the consistency of his stylistic choices and mise-en-scène by tackling topics such as:
- camera shots, angles and movement
- colour palettes
- scene composition
- sets and props
My analyses will not be limited to aesthetic critique, however, as I will also be identifying and exploring the recurring themes in his work, as well as touching on his narrative pacing and character development.
Seven of his films will be assessed in chronological order, starting off with Bottle Rocket and wrapping things up with The Grand Budapest Hotel. I hope to share my thoughts on Wes Anderson’s work with other fellow fans while also rendering him discoverable to those who haven’t heard of him, hopefully enticing them to give his films a watch.