ScreenPrism treats Wes Anderson’s breakout film Rushmore as the director’s coming-of-age. The movie sees the debut of Anderson’s dollhouse aesthetic – albeit raw and less ornate – and penchant for indie music, while the story and theme are lifted from his life.
Wes Anderson returns to the world of stop-motion animation in his latest film, about a future in which dog overpopulation leads to an evil overlord quarantining our best friends on an island filled with junk and garbage. Stars pretty much everyone in the universe.
We’ve gotta throw a shout-out to Laura over at If It’s Hip It’s Here for turning us onto this subreddit, which is populated with images of locations and scenes which could be straight out of a Wes Anderson film, thanks to their color palettes, symmetry, order, and mood.
Lessons from the Screenplay argues that Moonrise Kingdom is where Wes Anderson’s aesthetic perfectly matches the screenplay – a tale of innocence and youthful optimism told from the perspective of jaded adults. Then again, that sounds like all of Anderson’s films.