Wes Anderson’s utterly unique, diorama style of film-making makes his work instantly recognisable. All his films are as beautifully coherent and delicately crafted as a patchwork quilt knitted by some kind of celestial grandmother with galaxies for eyes and butterscotch for pupils. But how well do his films match up when they have all been placed side by side? Well, if you’re talking about colour co-ordination, the answer is remarkably well.
Editor Rishi Kaneria has taken footage from all of Anderson’s films, from The Grand Budapest Hotel to Bottle Rocket to Fantastic Mr. Fox and created a supercut of shots strictly within the red and yellow colour palette, one that Anderson is clearly very fond of. Add in ‘The Winner Is’, a prominent piece from Mychael Danna’s score for Little Miss Sunshine and the results are, well, lovely.
The supercut uses a split screen format, always keeping the two colours matched across different feeds and demonstrating in the process just how perfect the symmetry and framing in Anderson’s work really is. If this doesn’t make you want to scuttle off and watch Moonrise Kingdom on the largest screen humanly available… Well, that’s understandable, you probably have things to do, but even still, it’s pretty amazing.
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