Wesley Wales "Wes" Anderson (born May 1, 1969) is an American director.
He specializes in weird and quirky comedies loaded up on dysfunctional characters and dysfunctional families that typically deal with themes of Parental Abandonment. He often has the same actors in his movies and uses the same techniques, including highlighting ornate background details and symmetrical settings, using wide-angle anamorphic lenses, and ending on a slow-motion shot.
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- Bottle Rocket (1996)
- Rushmore (1998)
- The Royal Tenenbaums (2001)
- The Life Aquatic with Steve Zissou (2004)
- The Darjeeling Limited (2007)
- Hotel Chevalier (2007) - short prequel film with characters from The Darjeeling Limited that was featured before the film during its theatrical run
- Fantastic Mr. Fox (2009) - his debut foray into stopmotion animation.
- Moonrise Kingdom (2012)
- The Grand Budapest Hotel (2014)
- Come Together (2016) - Christmas commercial short film for the brand H&M, starring Adrien Brody.
- Isle of Dogs (2018) - his second stop-motion animation film after Fantastic Mr. Fox
- The French Dispatch (2021)
Wes Anderson and his works provide examples of:
- Ambiguous Time Period: A lot of Anderson's works feature either retro settings that feel slightly modern or modern settings that feel very retro. Good examples are Budapest, which is primarily set in the 30s but has a number of modern touches, Isle of Dogs, which takes place a few decades into the future but with a very Dieselpunk, Zeerust aesthetic to it, and Mr. Fox, whose timeline is simply unclear, although it seems like the 60s or 70s.
- Bittersweet Ending: The main characters of Anderson films usually end the film happier than they started, but still suffering from loss or regret.
- The Caper: Most of Anderson's films involve a plan to steal something, infiltrate somewhere or escape something.
- Central Theme: Or themes. His films focus on themes of grief, loss, parental abandonment, dysfunctional families, siblings rivalry, unlikely friendships, and love.
- The Comically Serious: One of Anderson's trademarks is putting characters in very absurd, whimsical, or cartoonish surroundings and setting and having them deliver very silly lines in a completely serious and unflinching tone.
- Costume Porn: Characters tend to each have their own stylized, colorful, and highly distinguishable costume. By contrast, identical (but still stylized) uniforms are also common. Anderson is sometimes said to treat his characters like dolls.
- Creator Thumbprint: Anderson's films are characterized by a preoccupation (some would say an obsession) with framing his scenes symmetrically and at flat, straight angles. The camera is always oriented at right angles to the action, and he never uses Dutch angles.
- Dramatic Deadpan: Despite being in such fanciful, whimsical worlds and have absurd yet revealing lines of dialogue, his characters are performed with the driest of deliveries. Usually Played for Laughs and occasionally for drama.
- Dysfunctional Family: Characters typically suffer from an unhappy family life.
- Episode Title Card: His films are often divided into chapters.
- Fatal Flaw: His characters usually have one.
- Impoverished Patrician: Many of his characters are from wealthy backgrounds, but lack any real income.
- Humans Are Flawed
- Parental Abandonment: Most of his characters lack parental role models. Their parents are dead or simply distant.
- The Plan: Anderson's characters are as meticulous as he is. Almost every film will feature characters giving very precise instructions or laying out a very detailed plan for the events to follow. In Bottle Rocket, Dignan's plan maps out the group's entire lives.
- Production Posse: Anderson has invoked a large and loyal posse of go-to actors who fill out all of his films. He also tends to collaborate behind the scenes with the same loose group of people as well.
- Rich Boredom: Almost all of his early films focus on the ennui of the wealthy class, usually contrasted by one lower-class go-getter.
- Scenery Porn: Anderson's films are all meticulously shot and costumed in a very stylized manner. Critics have described/accused his characters of looking like dolls in a doll house.
- Shades of Conflict: Most of his films are towards Grey-and-Gray Morality.
- Fantastic Mr. Fox and The Grand Budapest Hotel are closer to Black-and-Gray Morality due to having flawed but endearing heroes and clearcut villains.
- Isle of Dogs goes to the traditional Black-and-White Morality. However, it then goes to White-and-Grey Morality later on when the main antagonist gives away one of his kidney's in order to save his nephew's life, who he loves dearly.
- Sliding Scale of Idealism vs. Cynicism: His films are usually somewhere in the middle. Though you could make the argument that his last few films had a more optimistic edge to it. There is also a fair amount of heart in all his films.
- Smoking Is Cool: Most, if not all, of his films to date include at least one character who smokes, or at the very least, develops a smoking habit (Bob from Bottle Rocket; the three central characters from Rushmore; Royal and Margot from The Royal Tenenbaums; Bean from Fantastic Mr. Fox; etc...)
- Unsympathetic Comedy Protagonist: Most of the heroes in Anderson's earlier films are examples of this from Max in Rushmore to Royal in The Royal Tenenbaums to Steve in The Life Aquatic of Steve Zissou, but averted for his child protagonists in Moonrise Kingdom and The Grand Budapest Hotel.
- Widescreen Shot: He's known for using very wide lenses.