From the TikTok trend to the artificially intelligent created trailers to our own list breaking down the visual aesthetics of this filmmaker, Wes Anderson has a very specific visual style. However, the auteur filmmaker doesn’t believe he has an aesthetic.
In a recent interview with Deadline, Anderson says that he believes his style is recognizable because he films sequences in a specific way that “is not so typical for everybody. And I do it a lot.” Anderson clarified that he believes he doesn’t have an aesthetic but has “an invention” that changes with each project he works on.
“What I was doing in Bottle Rocket was what I had. That was my aesthetic,” Anderson said. “And it changed in this one. And, every time, so much of the next movie is informed by something we did in the one before. Like, people often refer to me doing these kinds of dolly shots, and Asteroid City begins with a long one. We go from one place to the next, and we run around. It’s a certain kind of way to film a sequence that is not so typical for everybody. And I do it a lot.”
Anderson’s signature dolly shot started on Bottle Rocket when the day of filming on the baseball field. Unfortunately, the field was flooded by an earlier storm. In problem-solving mode, Anderson knew that he had to film on the baseball diamond between home plate and third base, and decided to put everything facing one dugout and film the scene all the way that way.
‘The Wonderful Story of Henry Sugar’Credit: Courtesy of Netflix
“And often I feel like that’s the way things kind of evolve when you’re doing movies,” Anderson says in the interview. “You know, you find the thing you like, and then you do it again, do it a bit differently, and then you say, ‘OK, I’m going to try a different thing here. I’ll go another direction.’”