Simple, marvelous supercut by Rishi Kaneria exploring Wes Anderson’s use of the colors red and yellow. Pair with Goethe on the psychology of color and emotion.
Wes Anderson
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Simple, marvelous supercut by Rishi Kaneria exploring Wes Anderson’s use of the colors red and yellow. Pair with Goethe on the psychology of color and emotion.
In addition to being the source of a new classicism, studio-era Hollywood was perhaps the greatest machine for sudden and drastic stylistic innovation ever offered to humanity.
A somewhat bombastic claim from this otherwise fascinating New Yorker piece on how Stefan Zweig inspired Wes Anderson.
To draw your own conclusions, see some more candidates for “the greatest machine for sudden and drastic stylistic innovation” among the 100 ideas that changed film, as well as among those that changed photography.
I use traditional methods in graphic prop-making wherever possible: a real 1930s typewriter for typewritten documents; a dipping pen and ink and for any handwriting. Pieces have to be aged, too, as nothing should look like it was made in an art department five minutes ago. Madame D’s last will and testament took a lot of aging, for example, as it contained over 600 pieces that were scripted as being some 46 years old. I have some tricks of the trade that I’ve learnt over the years… mostly involving a big vat of tea and a hair dryer.
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The beautiful thing about period filmmaking is that you’re creating graphic design for a time before graphic designers existed.
Wonderful interview with Annie Atkins, the design genius behind Wes Anderson’s Grand Budapest Hotel.