Week 3 Wes Anderson the French dispatch trailer / Juno Calypso photographer 12.02.20
I have always loved Wes Anderson films, for the directing choices, casting choices, chosen colour pallets, and aesthetics, that make his films instantly recognisable. As touched on in the webinar earlier, Ilya & I had discussed in a WhatsApp chat, the responses we had had regarding ‘The Personal history of David Copperfield’ that we both watched recently, independently of each other. What was interesting was that we both found the same thing, that after only a few weeks on this module, we are viewing everything we watch or consume differently. With David Copperfield, like with the French dispatch above, I am simultaneously whilst watching the scenes, assessing the creative choices, why did they use that colour pallet, why did the directors choose those transitions, or that framing, what were the motifs and metaphors present in the scene, and how do they connect between the scenes, and indeed for Wes Anderson films, between his different film catalogue as well.
On one hand, this is a bit of a nuisance, will I ever enjoy a film again without having to consider why it is that I like it, and all the subliminal things that are hidden within it. On the other hand, it’s great, it shows that the module is doing what it is meant to as I am now consuming visual culture with a critical eye, coming from an informed position.
If I continue along the lines of constructing tableaux there are elements from the Anderson films that I would be very interested in drawing inspiration from. In film, I am drawn to the way he pans along the set on a set plane rather than viewing it how our eye would, or how he has the camera still and then had the action move through the frame. I find the aesthetics of his props and colour pallet mesmerising, I can’t really say why, I obviously need to think about that more, all I know is, it is super pleasing on the eye, and makes me happy. I also really love his symmetry that he uses profusely in his sets. There’s actually more than one website ( https://art-sheep.com/50-actual-places-looking-like-wes-anderson-stills/) and instagram ( Accidentally Wes Anderson 910,000 followers ) page set up where people photograph scenes in their lives that look like they are out of Wes Anderson films, it’s brilliant, lighthearted yes, but actually really intriguing how an aesthetic can be so intrinsically linked to someones craft that it is instantly recognisable, loved, coveted and parodied so profusely.
I see definite links between the work of Anderson, and the work of photographer Juno Calypso
Fig 2, Google search, Wes Anderson film stills.
Fig 3, Juno Calypso landing page. 2020
I think both Calypso, and Anderson have a really strong brand aesthetic that means they are recognisable. This has huge benefits in that it keeps you in peoples minds, your name and aesthetic are remembered for if someone wants you to do a similar style commission in the future. However, it does have its draw backs, for Calypso, more than Anderson (who one assumes will continue making his own films). As a photographer if you have an aesthetic that is so highly individual and recognisable, you have the problem of potentially becoming pigeon holed by the very aesthetic that makes you famous in the first place.
I am actually seeing Calypso talk at the photography show next month and am really looking forward to it , and hearing more about how she works in person.
Anderson, Wes. Feb 2020. The French Dispatch | Official Trailer | In Cinemas August 28. You tube. Available at https://youtu.be/52vLA8G_X7A (Accessed 12.02.20)
The personal history of David copper field. 2019. Imdb. Available at https://www.imdb.com/title/tt6439020/ (Accessed 12.02.20)
Accidentally wes Anderson. You tube. Available at https://www.instagram.com/accidentallywesanderson/?hl=en (Accessed 12.02.20)
Fig 1, Wes Anderson. The French dispatch film poster.https://www.itsnicethat.com/news/erica-dorn-javi-aznarez-wes-anderson-the-french-dispatch-poster-illustration-120220 (Accessed 12.02.20)
Fig 2, Google search, Wes Anderson film stills. wes anderson film stills (Accessed 12.02.20)
Fig 3, Calypso, Juno. A girls guide to egg freezing. https://www.junocalypso.com/commission/7nbrxt0kl69gpuv5prxcxzff4rmauy (Accessed 12.02.20)
Fig 4, Calypso, Juno. Burberry. 2018. https://www.junocalypso.com/commission/wxvlu9ws09jkextdvlua8bmi7f8s5e (Accessed 12.02.20)