The, Royal Tenenbaums, And The Grand Budapest Hotel

1069 WordsOct 25, 20165 Pages
Wes Anderson, director of several films including Moonrise Kingdom, Royal Tenenbaums, and The Grand Budapest Hotel, has a very unique style of cinematography, often recognized by his use of long duration shots, excessive panning, and symmetric and centered frames. In his short film, Castello Cavalcanti, which tells the story of a race car driver who accidentally crashes in his ancestral village, Wes Anderson implements several different techniques such as pans in camera movement, juxtaposition in sound and music, contrast in colours in mise en scène, and editing to show the story to the audience on a deeper, more emotional level. To begin, the use of camera movement (and lack thereof) in this short film pushes the story forward by creating unity and disunity. In the beginning shots the camera has a large amount of movement, anxious to show the setting of Castello Cavalcanti, panning almost impatiently left and right to show every little part of the quaint community. In shot 2, the camera begins the shot focusing on the woman of Castello Cavalcanti. The camera then pans over to a little boy, then moves upwards in a crane shot to show some of the young men. In this shot, the camera pans eagerly looking for action, for something out of the ordinary. After the race car driver arrives on the scene, the camera stops moving. From shots 8 and onward the camera for the most part remains practically static. The camera has finally found something interesting, disunity, someone who

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