The framing throughout the movie is consistent and very unique to Wes Anderson. It’s almost like Wes Anderson films are the “yoga” of filmmaking: it’s all about finding the center, both metaphorically and literally.
Anderson ’s framing is metaphorically just as eye-catching, just as glaring for lack of a better word, as a bright red dot in the middle of the frame. Anderson - along with his numerous co-writers - is one of the sharpest dialogue artists working today. The color palettes, the fastidiously detailed mis-en-scene, the center framing, the symmetry, the retro costumes and retro needle drops – it’s all part of what makes Wes Anderson so very Wes Anderson. Using Wes Anderson's Rushmore (1998) as a case study, this paper will examine the relationship between irony and affect, and the way the tension between these aesthetic modes destabilises normative assumptions and expectations in relation to character engagement and what Murray Smith refers to as ‘the structure of sympathy’ (Engaging. Anderson's framing has had a lasting impact on the world of filmmaking, and it is sure to. Anderson's use of geometry and color in his stills and frames has helped to create a unique visual style that is both calming and striking. Orson Welles includes strange people and objects in the frame to .Wes Anderson's framing is an iconic part of his work, and it is one of the most identifiable elements of his films. Compare a frame from Grand Budapest to one from Deux ou trois choses que je sais d'elle (1967).In this sequence from Wes Anderson's Rushmore (1998), racking focus is used to show the. Most of the visuals in Anderson’s films feel staged and he emphasizes it by. However, Anderson has managed to use symmetry in his composition to make his quirky universe feel more natural. In the prevalent school of postmodern filmmaking, symmetry is usually discarded as a superficial element because it makes the shot feel like a construct. He also uses colour, though, in a highly unique way that is stylishly distinctive but also carries meaning. So why is this important?Wes Anderson's style is characterised by the symmetry of the frames, as the I Cani song points out. 
It's almost like Wes Anderson films are the "yoga" of filmmaking: it's all about finding the center, both metaphorically and literally. Anderson's framing is often composed of symmetrical stills …Anderson 's framing is metaphorically just as eye-catching, just as glaring for lack of a better word, as a bright red dot in the middle of the frame. Wes Anderson is renowned for his distinct visual style, and one of the most iconic elements of his films is the framing.
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