Anderson supercut reveals Wes’ dedication to symmetry

Cult director Wes Anderson has always had a very visible preoccupation with colour and form, resulting in a body of work in which many fans can identify a specific film from one obscure frame. He’s also very fixated on Owen Wilson, but we’ll let that pass. Anyway, one perceptive Anderson aficionado has conducted a simple, compelling analysis of Wes’ oeuvre that shows just how much effort goes into constructing his perfect shots.

:: kogonada, a South Korean-born filmmaker who contributes to the BFI’s Sight & Sound magazine, recently uploaded the following Wes Anderson supercut to Vimeo. With the simple addition of a dotted line, he demonstrates how meticulously the Grand Budapest Hotel director ensures symmetry in both incidental and key scenes. We haven’t got a lot to say about it, it’s just really pleasant to watch.

So go on, then, watch it.

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Isn’t that great? We should probably have got Janina to write this article so she could rave on for twelve thousand words about Wes Anderson’s coruscating genius, but it’s a Wednesday and we’re pretty much happy looking at how lovely and symmetrical everything is. Look at it! It’s like one of those paintings from nursery school where you cover half a page in poster paint and then fold it over.

Ironically, of course, Wes Anderson himself isn’t at all symmetrical.


We could watch that gif all day.

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