Pause his films at any frame and you will be presented with a perfectly symmetrical, formalized painting. So distinct is Wes Anderson’s filming style that there is an ‘Accidental Wes Anderson’ Reddit thread that encourages users to post photos from around the world of locations and architecture that look like they belong to one of the American auteur’s films. The instagram account of the same name has almost 250,000 followers, the aesthetic incredibly fitting with the heavily stylized, pastel trend currently dominating our social media feeds. In light of the director’s upcoming release Isle of Dogs, it is essential to reflect on the mechanisms that make his work so unique. Here are seven distinctive Wes Anderson filming techniques and tropes:

 

1. Symmetry: Anderson’s framing technique favours images of perfect symmetry. Several scenes in his films are static and force the viewer to dwell on the nuanced orchestration of the beautiful still image. Edits between scenes are seamless as each shot effortlessly transitions to the next, the central symmetry consistent in each sequence. This allows the viewer to focus on the most important element of each scene which is always placed in the centre. (Still from Moonrise Kingdom)
2. The tracking shot: Anderson is a big fan of the tracking shot. He uses it to orchestrate heavily choreographed scenes. Instead of a more conventional camera pan, he uses a dolly shot that presents as much information about the scene as possible. A great example of this technique at play is the aftermath of the car crash scene in The Royal Tenenbaums (2001). The camera tracks each of the film’s characters as they stand outside the house, traumatised and finally reconciled as Royal (Gene Hackman) intended from the beginning of the film. (Still from The Royal Tenenbaums)
3. Themed colour palettes: Almost as striking as his symmetry is Anderson’s choices of colour. Each of his films has a unique palette that speaks to the mood of the film. The millennial pink of the hotel and Mendel’s bakery boxes used in The Grand Budapest Hotel (2014) is one of his most memorable uses of colour; the playground style representative of the meticulous craft that goes into his films. Films such as TheLife Aquatic With Steve Zissou (2004)  and The Royal Tenenbaums retain a muted aesthetic with splashes of bright red in Zissou’s hats and Chas Tenenbaum’s (Ben Stiller) tracksuit. It is emblematic of  chaos amongst the calm.Moonrise Kingdom (2012) has a vintage vibe with its use of greens and browns in a world of boy scouts. Meanwhile the autumnal shades of Fantastic Mr. Fox (2009) are warm and hazy, contrasting with the  muddy earth where most of the action takes place. (Still from The Royal Tenenbaums)
4. Quirky dialogue: The bizarre lines uttered by Anderson’s characters will amuse some more than others. The humour is understated, deadpan and the awkwardness is sometimes difficult to watch. There is something childlike about the characters in Anderson’s film and this is transparent in the dialogue. Characters speak their most inner, inappropriate thoughts aloud often without the repercussions that one might expect. A standout moment comes from Royal Tenenbaum when the titular character expresses his sorrow to his grandchildren after their mother’s death: “I’m very sorry for your loss. Your mother was a terribly attractive woman.” Lines like these are typical of a Wes Anderson film. Audiences hoping for an emotional deliverance should probably look elsewhere.
5. The Outsider: It wouldn’t be a Wes Anderson film without a troubled male attempting to find himself. From as far back as Rushmore (1998) this archetype prevails. Max Fischer (Jason Schwartzman) is a social outcast at his school with academic ambition and a lack of good grades to show for it. His aim is to win the friendship and eventual love of his teacher but he is disgusted when she begins an affair with his classmate’s father. Similarly, oceanographer Steve Zissou (Bill Murray) is disliked by almost everyone he meets. When he is introduced to a man, Ned (Owen Wilson) – who may or may not be his son – he finds himself growing to fit the role of a father. Anderson has a knack for representing the misunderstood and utilises a regular cast who do an excellent job of portraying them.
6. Opening Sequence: The opening sequences of each of Anderson’s films are unique in their ability to convey immediate character of the film using familiar cinematic techniques. Ranging from character portraits (The Royal Tenenbaums), overhead flat lays (Rushmore) or direct address (Moonrise Kingdom), Anderson’s distinct misé en scene is always expressed in the opening minutes of the film in question. Youknow you are watching a Wes Anderson film as soon as the Futura typeface bombard the opening credits. (Still from The Royal Tenenbaums)

 

These are just some of the familiarities we associate with the director. In just over twenty years Anderson has created a signature style that makes him stand out from the conventional mainstream Hollywood film. The director’s latest feature is a stop-motion that takes place in a dystopian Japan with Bryan Cranston as the leader of a pack of dogs who have been quarantined on an island due to a ‘canine flu’. If this isn’t a recipe for success then what is?

Isle of Dogs will be released in Ireland 30 March 2018.