Although far from Alfred Hitchcock’s moody thriller films, Wes Anderson employs some of the same techniques to create different and profound atmospheres in his films. Reluctant to move away from his distinctive style which he has perfected over the years, the ability to recognise his work immediately lets the audience know the kind of style the film they are about to watch is.
Anderson’s painstaking attention to detail in set designs is obvious throughout his career. His limited and quirky colour palette not only makes the majority of his films immediately recognisable but also adds to the ironic tone; there is always an underlying darker theme that is not revealed when looking at the set alone. The childlike aesthetic Anderson is so fond of is used to identify “as one symptom of broader cultural movements concerned to challenge the reputed hegemony of irony within a postmodern structure of feeling” (MacDowell, J “New Review of Film and Television Studies: Volume 10 – Issue 1: Wes Anderson & Co.” 2012.).
Architecture as Cinematography Clues 