This is really neat! I think it's pretty interesting how Wes Anderson who is known for his careful use of visual design and composition has a generally uniform composition. Throughout most of the film, the predominant color scheme is yellow. In the final act, with the most tension, the color scheme changes to a more depressing gray, bookended by dark blue, contributing to the mood of the last act.
Great observation, Rachel! I love how the site has a graph for Wes Anderson's whole career -- and it's as you say, more or less! http://moviebarcode.tumblr.com/post/40349885819/the-complete-wes-anderson-1994-2012-widths
Besides the striking pewter tones of black-and-white classics such as 'Bringing Up Baby,' I find the colorful barcodes of all the animated films to be most appealing. Given the versatility of the medium, what goes into the visual design of animated films? I'm wondering specifically about those created on the drawing board, before the dawn of computer-generated images. It would be interesting to see what decisions are made in terms of the overall design, especially in films like 'The Book of Kells,' which veer from the standards of classic animation in favor of an even more two-dimensional style and are nominated for Oscars in the animated film category. When you have the option to do most anything with 'lighting,' 'costumes,' and color, what makes your animated film remarkable?
This is awesome! I love the Moonrise Kingdom one especially. The movie actually runs though my head just by looking at the color progression. (Sarah Ortiz)
This is so incredible. It really reflects on the tone of the film and shows how color adds to the voice. I love how the disney/animated films are so bright. Also I'm so happy they had Before Sunrise and Before Sunset, because they are my absolute favorite and most overlooked movies!
This is really neat! I think it's pretty interesting how Wes Anderson who is known for his careful use of visual design and composition has a generally uniform composition. Throughout most of the film, the predominant color scheme is yellow. In the final act, with the most tension, the color scheme changes to a more depressing gray, bookended by dark blue, contributing to the mood of the last act.
ReplyDeleteGreat observation, Rachel! I love how the site has a graph for Wes Anderson's whole career -- and it's as you say, more or less! http://moviebarcode.tumblr.com/post/40349885819/the-complete-wes-anderson-1994-2012-widths
ReplyDeleteThis comment has been removed by the author.
ReplyDeleteBesides the striking pewter tones of black-and-white classics such as 'Bringing Up Baby,' I find the colorful barcodes of all the animated films to be most appealing. Given the versatility of the medium, what goes into the visual design of animated films? I'm wondering specifically about those created on the drawing board, before the dawn of computer-generated images. It would be interesting to see what decisions are made in terms of the overall design, especially in films like 'The Book of Kells,' which veer from the standards of classic animation in favor of an even more two-dimensional style and are nominated for Oscars in the animated film category. When you have the option to do most anything with 'lighting,' 'costumes,' and color, what makes your animated film remarkable?
ReplyDeleteThis is awesome! I love the Moonrise Kingdom one especially. The movie actually runs though my head just by looking at the color progression. (Sarah Ortiz)
ReplyDeleteThis is so incredible. It really reflects on the tone of the film and shows how color adds to the voice. I love how the disney/animated films are so bright.
ReplyDeleteAlso I'm so happy they had Before Sunrise and Before Sunset, because they are my absolute favorite and most overlooked movies!