{"id":95814,"date":"2017-10-18T06:00:49","date_gmt":"2017-10-18T11:00:49","guid":{"rendered":"https:\/\/www.premiumbeat.com\/blog\/?p=95814"},"modified":"2017-10-18T13:26:36","modified_gmt":"2017-10-18T18:26:36","slug":"stylize-cinematography-like-wes-anderson","status":"publish","type":"post","link":"https:\/\/www.premiumbeat.com\/blog\/stylize-cinematography-like-wes-anderson\/","title":{"rendered":"How to Stylize Your Cinematography Like Wes Anderson"},"content":{"rendered":"

Every great cinematographer has a signature style.\u00a0You can\u00a0develop yours by studying the experts, beginning\u00a0with\u00a0Wes Anderson.<\/h2>\n

Cover image from\u00a0Wes Anderson<\/a>‘s\u00a0American Express commercial<\/a>.<\/em><\/p>\n

From Bottle Rocket<\/em><\/a> to\u00a0Isle of Dogs<\/em><\/a>, Wes Anderson has consistently delighted cinephiles with his whimsical sense of humor and signature visual style<\/strong>. Whether you\u2019re a fan or not, you\u2019ve seen it both analyzed<\/a> and parodied<\/a>. However, it\u2019s more than just\u00a0tableaux and dead dogs<\/strong>. Anderson’s recognizable m<\/strong><\/em>ise-en-sc\u00e8ne<\/b><\/i> is a combination of homaged compositions and coming-of-age motifs<\/strong> that\u00a0requires a strong understanding of cinematography, color, and style<\/strong>.<\/p>\n

Let\u2019s look at\u00a0several\u00a0ways to\u00a0experiment with footage <\/strong>to\u00a0see how Wes Anderson established his signature style.<\/p>\n

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Flat Compositions<\/h3>\n

\"How
\n<\/a>Image from <\/em>The Life Aquatic with Steve Zissou<\/a>\u00a0via <\/i>Touchstone Pictures<\/a>.<\/em><\/p>\n

One aspect of Wes Anderson\u2019s cinematography<\/strong>\u00a0(which is heavily tied to his\u00a0<\/strong>go-to director of photography,<\/strong>\u00a0Robert Yeoman<\/a>)\u00a0is the stark flatness of his compositions<\/strong>. As much as he possibly can, Wes creates his worlds by lining everything up directly in front of him<\/strong>. That is to say, he doesn\u2019t use awkward angles<\/strong>. The camera can move, but if it does, it creates a new flat composition<\/strong>.<\/p>\n