Wes Anderson: A Mini Documentary from Paul Waters - BEC on Vimeo.
Showing posts with label Wes Anderson. Show all posts
Showing posts with label Wes Anderson. Show all posts
Monday, March 17, 2014
Wes Anderson Primer
Wes Anderson: A Mini Documentary from Paul Waters - BEC on Vimeo.
Crossed Keys
A bit of fun, wordy, busy, just-so just-so 'Grand Budapest' schtick set up by Bill Murray. Just right for Wes Anderson fans.
Friday, February 21, 2014
Extremely Precise As Usual But Watchable, Interesting
Until now, trailers, clips, featurettes (even stills) for 'The Grand Budapest Hotel' have been so prickly with detail and nuance it's been almost exhausting to watch. Even the title wears you out.
Of course, Wes Anderson's work is like that. I enjoyed 'The Royal Tenenbaums'. Its ratio of forward motion to examining the moment was a tad higher than other Anderson movies -- probably his most direct story. 'Grand Budapest', though -- it drills down into the very soul of minutiae in every single shot.
With this featurette, however, the details win. Everything is perfectly framed, every color perfectly compliments, all the dynamics gel.
I especially appreciate this bit of work. Here, the two main characters are running and their strides match -- exactly. They're not close, it's exactly synchronized.
It's like watching the gold medalists in Olympic synchronized running crossing the finish line.
I can just hear Wes yelling, "Heel, toe, heel, toe! Left, right, left, right! Cut! Try again!" How many takes did they do? What other director would demand that level of detail?
Here's the featurette. The shot is at about 3:07.
Of course, Wes Anderson's work is like that. I enjoyed 'The Royal Tenenbaums'. Its ratio of forward motion to examining the moment was a tad higher than other Anderson movies -- probably his most direct story. 'Grand Budapest', though -- it drills down into the very soul of minutiae in every single shot.
With this featurette, however, the details win. Everything is perfectly framed, every color perfectly compliments, all the dynamics gel.
I especially appreciate this bit of work. Here, the two main characters are running and their strides match -- exactly. They're not close, it's exactly synchronized.
It's like watching the gold medalists in Olympic synchronized running crossing the finish line.
I can just hear Wes yelling, "Heel, toe, heel, toe! Left, right, left, right! Cut! Try again!" How many takes did they do? What other director would demand that level of detail?
Here's the featurette. The shot is at about 3:07.
Tuesday, February 4, 2014
Square Clip, Multiple Aspect Ratios
I never noticed. How could I have not noticed? Wes Anderson's 'The Grand Budapest Hotel' is shot in more than one format. Widescreen for what's happening today, and the older more square format for 'The Story' that takes place long ago.
In fact, according to Wikipedia, there are three timelines, each with its own aspect ratio -- 1.33, 1.85, and 2.35:1. This clip would be 1.33, yes? I believe so.
In fact, according to Wikipedia, there are three timelines, each with its own aspect ratio -- 1.33, 1.85, and 2.35:1. This clip would be 1.33, yes? I believe so.
Thursday, October 17, 2013
Symmetrical, Very Purple
Wes Anderson has the most disciplined camera. His frames are, if anything, a tad too symmetrical. Yes. A little imbalance would be welcome.
Otherwise, 'The Grand Budapest Hotel' comes off like a candied apple. One of those really bright supersaturated unnaturally red shiny ones. You know...the kind that, sometimes, is better to look at than eat? Or, might taste way fun and silly but, an hour later, you wish you hadn't eaten it? One of those.
Otherwise, 'The Grand Budapest Hotel' comes off like a candied apple. One of those really bright supersaturated unnaturally red shiny ones. You know...the kind that, sometimes, is better to look at than eat? Or, might taste way fun and silly but, an hour later, you wish you hadn't eaten it? One of those.
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