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Thomas Flight asks, “Why do Wes Anderson’s Movies Look Like That?”
Flight discusses several films (“The Grand Budapest Hotel”, “Moonrise Kingdom”, “Fantastic Mr. Fox”) with respect to a kind of anti-naturalism, where he uses geometry in “planecentric composition” and “compass point editing”. His shots are composed of planes parallel or perpendicular, giving real events (often historical) a kind of animated look.
Flight notes Anderson’s use of real animal fur in the Fox movie (maybe an ethical question) based on a ruffling effect from “King Kong”, and compares Anderson’s technique to Christopher Nolan, who makes impossible situations (like floating in hallways in “Inception”) seem natural and real.