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Over the last 23 years and counting, Wes Anderson and Robert Yeoman have been one of cinema’s most essential director-cinematographer pairings. The filmmaking duo has crafted a signature style that has made Anderson one of the most recognizable auteurs in film history. One look at the frame is all it takes to know you’re watching a Wes Anderson film, whether it’s the hyper-stylized set design, the meticulous symmetry of a composition, or the precision of lateral camera movements.
Anderson currently has 10 feature films under his belt, and he’s currently at work on his tenth thanks to the upcoming “The French Dispatch.” IndieWire looks back at the filmmaker’s legendary career below in 25 perfect shots.
Wes - Anderson - Debut - Bottle - Rocket
Wes Anderson’s feature-length directorial debut arrived in 1996 with “Bottle Rocket,” starring Owen and Luke Wilson. Anderson co-wrote the script with Owen Wilson. The film marked an important first collaboration between Anderson and cinematographer Robert Yeoman, who had become a DP to watch after working on such titles as Gus Van Sant’s “Drugstore Cowboy.” Anderson and Yeoman showed off an impressive utilization of space in their first parternship, finding ways to increase the isolation and loneliness of their characters with blocking that heightens the space around them.
Representing character relationships through blocking has long been the utmost priority for Anderson and Yeoman. Just look at how the duo block Anthony (Luke Wilson) and Inez (Lumi Cavazos) as their characters are falling in love. Using the railing to divide Anthony from Dignan (Owen Wilson) creates dramatic tension visually over how the relationship might affect their friendship.
Anderson - Yeoman - Precision - Patterns - Cinema
Anderson and Yeoman’s precision when it comes to nailing visual patterns remains unmatched in cinema. A delightful sequence in Anderson’s 1998 coming-of-age comedy “Rushmore” details all of the clubs run by main character Max Fisher (Jason Schwartzman), each shot positioning Max in the center...
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