Dhruv Patel | SPACE - NARRATIONS, STORY TELLING through the films of WES ANDERSON.

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Declaration

This work contains no material which has been accepted for the award of any other Degree or Diploma in any University or other institutions and to the best of my knowledge does not contain any material previously published or written by another person except where due reference has been made in the text.

I consent to this copy of thesis, when in the library of CEPT Library, being available on loan and photocopying.

Student Name & Code No:

Date:

Dhruv Patel UI 1014

27/05/19

Signature of student:

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Student Name & Code :

FACULTY OF DESIGN

Thesis Title :

APPROVAL : The following study is hereby approved as a creditable work on the approved subject carried out and presented in the manner, sufficiently satisfactory to warrant its acceptance as a pre-requisite to the degree of Bachelor of Interior Design for which it has been submitted.

It is to be understood that by this approval, the undersigned does not endorse or approve the statements made, opinions expressed or conclusion drawn therein, but approves the study only for the purpose for which it has been submitted and satisfies him/her to the requirements laid down in the academic programme.

Name & Signature of the Guide

WWW.CEPT.AC.IN

T +91 79 26302470 F +91 79 26302075

Dean, Faculty of Design

KASTURBHAI LALBHAI CAMPUS UNIVERSITY ROAD, NAVRANGPURA AHMEDABAD 380009. GUJARAT, INDIA

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I Would like to thank my guide - Dr. Seema Khanwalkar for her eternal inspiration and care because of which I could achieve such substantial work and knowledge.

A heartfelt word of thanks to my parents who have been there for me during the best and the worst. This won’t have been possible without their immense affection and support.

Heart warming gratitude to Krishna ma’am, Kireet sir and especially Rajesh Sagara who has been the keystone in conducting me as a student and for introducing me to the world I now belong to.

My word of appreciation to my faculties and reviewer panels who have been helpful at all the stages off the research conducted.

A warm thank you to all my batch mates and best companion through out this journey of five glorius years who have been helpful to me forever. Special Thanks to the life saviour best friends since 2014 , Jay and Dharun for supporting me like a backbone in this five years of journey. At thank you to the kind hearted helpers, Ujjvala and tanmayi. They have helped me to create this journey magical and memorable.

I would like to share most of my love to JUJU sharing a forever bond of trust and joy. And the most memorable, whimsical and the best thing happened is to be a part of the Natakbaazi Family, will be very greatful to have those mind boggling experience to performed on the stage, will be missed throughout the life.This Experience pull all the fear out of my life and teach me how to speak with the confidence.

Last but not the least the loving force and beauty that has made me strong to withstand all the shades of this period helping me to succeed till date.

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1 1.1 Introduction to the Wes Anderson 1.1.1 Influence of colors in the movies of Wes Anderson 1.2 Why his movies matter?

1.1.2 Why Wes Anderson ?

1.1.3 What are his works?

1.1.4 Characteristics in every Wes Anderson films.

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2 2.1 Wes Anderson & his crafts of Film Interiors 2.1.1 Shortlisted three Movies with different Genres 2.1.2 Breif about the selection of films.

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3 3.1 Methodology for analysis

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3.2 Parameters for analysis of case study

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(a) Context of the film (b) Implied meaning (c) Direct meaning (d) Role of space in the naration (e) Relationship between character and space 3.3 Case studies (a) The Grand Budapest Hotel (b) The Darjeeling Limited (c) The Royal Tenenbaums

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4 4.1 Epilogue 4.1.1 The Budapest Cafe 4.1.2 Inference 4.1.3 Bibliography

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Aim : The research aims at interpreting the role of space narrations, color and lighting in the films of Wes Anderson.

Objective: - How Wes Anderson achieves balance between order and chaos through narrations in his films.

- Study of making designed film sets to compliment the storyline .

- Analyzing the set design with respect to the composition of characters.

Scope and Limitation : - This thesis mainly studies three films of the American director Wes Anderson.

- To understand how all the space making interior elements, will come together through the juxtaposition of colors, textures and overall frame composition in the selected scenes.

- It will only focus upon how the narratives work with a particular storyline and Its sequence in the film, that creating a basic characteristic of an actor playing role in the particular scene.

- The study specifically focuses on one director to maintain a language of direction and for better comparative analysis.

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Significance of study : - The urban contemporary and traditional image in interior of films is studied under several categories. Three movies with various plots are chosen where all the movies are located in different countries. By analyzing these movies through interior concepts it is aimed to gain an understanding to key points in set design. Films contribute to our understanding of the spaces to address these issues : - How do interior spaces and color make use of cinema and Merging the disciplines of interior point of view, frame design and composition with film studies is main idea for the thesis.

Methodology: - The whole process of the research work is summarized three different phases.

- The first phase is a descriptive one where it has a completely theoretical approach and the two fields are defined by quoting the directors point of view and their use of detailing every frame in the film.

- Second phase is the analytical one, where the research becomes more practical.

This phase consists of analysis of the chosen movie shots/scenes by the different aspects of film interiors in detail.

- Finally the Last phase will include the purpose of a new way of seeing film interiors and color palettes that define the characteristics of the film.

- This will include the technique of Mise - en - scene which has four different approaches to analyze the movies. This approach includes the study of how lighting affects the interior space of the film, how the space composition takes place in different frames to distinguish every character in the film. At last how the aspect ratio plays an important role of conveying the particular time period in following films.

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Enquiry for the role of planning and visual language in designing interior spaces in films of Wes Anderson. Analysing the use of elements and techniques for complimenting the spatial narratives in three different movies and their transformation of interiors in every movie. Defining different type of interiors which can create scenes with meticulous detail through dramatic play of colors, which can create identities of cross-culture and refernces from Various different design movements.

The shortlisted movies are: 1. The Grand Budaest Hotel 2. Darjeeling Limited 3. The Royal Tenenbaums The following movies exhibit a different and unique way of using color and mood ligthing. An authentic way to portrait every character in every frame from director’s point of view.

The following dissertation establishes a concept of looking at the interiors from a cinematic perspective. These three movies will be interconnected through aspects of interior design as they are directed by Wes Anderson. He deals with every little aspects of interiors and artifacts of space used in the frame of composition which can compliment the character and narrative of the film. It creates different meanings through juxtaposition of colors and texters in film interiors.

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Influence of Color and Composition

Fig:1 Rushmore 1998

Fig: 2 Darjeeling Limited 2007

Fig:3 2001

Fig:4 Hotel Chavelier 2007

Fig:5 The Grand Hotel 2014

Fig:6 The Life Aquatic with Steve Zissou 2004

Budapest

The Royal Tenebaums

Wes Anderson as a director articulates every distinct aesthetic which is very easy to grab the attention of the viewer through his style of striking use of color palettes. The very important aspects of this analysis is to find the balance between order and chaos through his distinctive color palettes, play of light, symmetrical shots, social and cultural context shown in his films.

The role of every character as they correspond to the color, depth, scale and space composition is most intricate detail to look upon in every film.

Wes Anderson has a very unique style to portrait each and every character of his films in every possible way with his whimsical color palettes. Every movie has unique screenplays, whimsical sense of art direction, strong notion of time and space, sound design and lighting. These aspects play a large role in the process of directing any good movies. Anderson has very intricate aesthetic input which is very important to carry forward in this research and a powerful hint to compliment the story. This establishes a special connection with the audience.

This proves that his directorial style is the real art of film making.

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in

the

Fig:7 The Grand Hotel 2014

films

Budapest

Fig:10 Hotel Chavelier 2007

of

Wes

Anderson

Fig:8 The life Aquatic with Steve Zissou 2004

Fig:9 The Royal Tenenbaums 2001

Fig:11 The Grand Budapest Hotel 2014

Fig:12 Monrise Kingdom 2012

In his films color is the most tricky and difficult one to understand in his frames and how it affects psychologically to the audience.

Taking any one of the frames of his film its very evident through its sensual appeal, it proves that color can travel into the mind and emotions of a viewer by seeing his movies. This concludes that every frame is interconnected to the senses, emotions, and intellect. This whole phenomenon connects more than one senses to the world of Anderson and it is very similar in the audience from all around the world.

In the film, the response from the audience point of view is that they experienced a very different and sensory combination through the actions, aesthetics, detail of precision and depths of space which is set in his whimsical color scheme to mimic the real life.

Talking of implementation of color in the films in any frame creates certain kind of psychological responses in the brain, and it definitely makes the audience set their mind to relate colors to any specific emotional variables.

Because in the end, every formation of the color palette of Anderson carries significant meaning in terms of social and cultural context.

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He never made a bad movie, Actually 3 of his movies I’ve seen had very good storyline as well as great sense of Interior Lighting and Juxtaposition of merging foreground and background.

His works on Budapest & as well as in Darjeeling limited was to immaculate, & too in command of his craft. His all films were deliberately Co-ordinated like outfits.

Every films are newly always set in slightly surreal, vaguely Fig:13 Wes Anderson

fantastical

versions

of

our

standard world, the bitter sweet “I don’t think any of us are normal people” - Wes Anderson

issues they deal with are ones we can basically all relate to.

Wes Anderson

Journey of Characters

Filled with broken and sad characters.

Unique Children Ambitious Maturity (adults)

Depression The elderly (Self-reflection)

Loneliness Anxiety

The best way to live life is to find a balance between order and chaos

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Why Wes Anderson ?

Some aspects and points to define any Wes Anderson film.

Color palette -he uses every color in a very extraordinary style and he has given thought to each and every shot in all his movies.

Symmetry - No matter what is the angle of the camera is or what type of shot it is, In his every other shot he deliberately fixed every small detail

Fig:14 Wes Anderson with camera

in such a way that, every piece of furniture is as important as the character standing in the defined axis. Not only furniture he plays with the walls and spatial space making elements to make symmetrical shots out of it. Each movie has a very intricate storyline. Repeated use of the same

Fig:15 Moonrise Kingdom 2012

actors in each movie even if it is animated.

Handling of the properties is very impressive with all the big sets he also handles minute detail if its in facade or any other wall in the space. As most important is his choice of set, pretty impressive.

Fig:16 The Grand Buapest Hotel

The taste of music is also different from context to context. Every character is in detailed from top to bottom, inside out. Uses very subtle emotions at every stage of the storyline.

He uses “material synecdoche” in his movies.

Showcasing objects, the location of clothing and

Fig:17 The Grand Budapest Hotel

defines personalities, relationship or conflicts.

Anderson’s

production design

or

costumes

actually developed his stories and characters. In his movies, children act like adults and adults act like children. Characters becoming “unglued” and falling apart can be funny.

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Fig:18 The Royal Tenenbaums

His movies generally have a dysfunction family relation full of escapism and a distinct pattern of speech. Art nouveau color palette is continued, each film has its own chromatic language.

Fig:19 Fantastic Mr. Fox

Anderson uses distinctive camera language and its all executed through the cinematography. One of the recognized style of using the camera in all possible angles, “wide-angle lens” which is later combined with a symmetrical center framed shots.

Fig:20 The Darjeeling Limited

He was known for his trick of taking rectilinear shots.

Frames that have continues straight lines which prominently highlights the symmetry of the shot and also create a sense of fixed perspective.

Extensive tracking shots deeply intricate dioramas and the last one of his very recognizable

Fig:21 The Moonrise Kingdom

shots crafted Slow

straight and motion

from

the

arranged to

above all

highlight

the

meticulously properties.

symbolically

every

detail. The 60s - 70s deep cuts soundtracks.

Anderson films show us the cinema’s power to walk Fig:22 The Royal Tenenbaums

off another world.

Fig:23 Rushmore

Fig:24 The Grand Budapest Hotel

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His Film creation chronologically

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BAR LUCE

Fig:25 Interiors of the Bar Luce

Fig:26 Sitting Area

Fondazione Prada situated in Milan is one of the good example Reuse

of

Adaptive-

project,

conceived

by the Design Studio OMA by Fig:27 View from the other side

Rem

Koolhaas.

This

Cafe is incorported inside the compound

by Wes

Anderson.

“I

wanted

to

be

an

architect.....

I guess that’s why I enjoy getting to build these fantasy locations.”

- Wes Anderson

Fig:28 Front Eleveation from inside.

Anderson represent his style to create production design and how can its influence aesthetic of the

He uses lots of pastel bules,

color perception in the audience and the ways in

pinks, reds, muted-yellows &

which color can create a desired psychological

washdown brown.

comprehension into their mind. This Cafe recreates

Wes Anderson is able to

whole typical Milanese atmosphere. It has very

create

ornamented and architectural details preserved

styles, moods, tones, even

from the existing structure beneath this Milan’s

emphasize

symbolic building.

themes.

specific on

aesthetic, recurring

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Characteristics

Fig:29.1

Fig:29.2

in

every

These the

are common

idiosyncratic used at its best in every Wes

Anderson

films.

He

uses

each one of these Fig:30

Fig:31

aspects and club

Fig:32

with each other in the narration so easily

that

they

generate

particular

scene

which define the emotion attached to the character.

Fig:33

Fig:34

Fig:35

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Wes

Fig:36

Every

film

Anderson

Anderson

Films.

Fig:37

of

shows

the similar kind of

Protagonist

character

that

follows same

the emotional

attachment

Fig:39

and this

Fig:38

Fig:40

through method

of

clubbing all the activities, it links whole

storyline

together through all these aspects in all of his films.

Fig:42

Fig:41

Fig:43

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Symmetry in The Bottle Rocket 1996 Drama/Crime Fig:44

Rushmore 1998 Drama/Comedy Fig:45

The Royal Tenenbaums 2001 Drama/Comedy Fig:46

The Life Aquatic with Steve Zissou 2004 Drama/Adventure Fig:47

The Darjeeling Limited 2007 Drama/Indie Film

Fig:48

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Space composition Hotel Chevalier 2007 Drama/Short Fig:49

Fantastic Mr. Fox 2009 Crime/Adventure Fig:50

Moonrise Kingdom 2012 Drama/Teen Fig:51

Isle of Dogs 2018 Drama/Fantasy

Fig:52

The

Grand

Budapest

Hotel 2014 Drama/Crime Fig:53

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1

The Royal Tenenbaums - 2001 - Drama/Comedy Fig:54 Poster

2

The Darjeeling Limited - 2007 Drama/Indie Fig:55 Poster

3

The Grand Budapest Hotel - 2014 - Drama/Crime Fig:56 Poster

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THE

1. The angle proportion (Element of structure)

GRAND

Fig:57 Elevator scene with the Author

Variable angles proportions, and confining creation. The specific scene was shot in different angle proportion. The principle explanation behind utilizing these perspective proportions in the film is to show the time-frame in the film and its character’s presence.

The Grand Budapest inn is extraordinary and it is one of the main motion picture that changes the state of the edge or viewpoint proportion to build up the casing in the timespan where the majority of story happens. It starts by 16:9 to build up the present day in 1985, the film then changes to 2.35:1 wide screen perspective proportion in 1968, most of the film happens in progressively unassuming 4:3 angle proportion, to set us path back to 1932, Anderson likely picked these casing into making the vibe the established film time of 30s.

Through these diverse angle proportions, the stage is presently set for us to hop between the courses of events. By exchanging the angle proportions, we will effectively ready to recall the timespan of the film. Switch forward and backward between timespan with a simple comprehension of when the scene has been taken.

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BUDAPEST

2. Space and Composition (Element of space)

HOTEL

Fig:58 European baths inside the Hotel

By evolving and changing of relationship of the characters. 2 characters grow through out the film by gradual change in the framing composition between them. At the starting of the film, Zero is now owner of the grand Budapest and he’s featured at the center of the frame alone indicating that he is now at the focus and driving force behind the narrative.

Using framing composition to indicate character dominance in a particular scene is a rather a simple concept to grasp. How much space the person takes in the frame and where they are positioned in relationship to others.

3. Lighting (Element of color and depth) Throughout the film there is some really great uses of light in color relationship of three set of characters. At the last scene the color is literally drained from the narrative to represent one of the darkest days in Zero’s life. The day his mentor and best friend is shot dead.

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THE

DARJEELING

Fig:59 Room of the Hotel Chavelier

The film opens with a shot setting the scene in a city in India, concentrating on a taxi from far away zooming in with quick paced woodwind music with a string instrument additionally being played. Meanwhile, this compliments the quick moving taxi and the man who is by all accounts in a surge influencing this person to appear the principle character a point of view shot of the cab driver likewise adds to this feeling of high pace. The mise-en-scene is inward city India as it has things like dairy animals out and about, individuals wearing turbans and customary Indian music to go with it. The camera tracks this fundamental character going past numerous individuals panning over the screen.

An over the should shot into a POV shot of the cabbie adds to the extreme and quick paced authenticity of the scene, the large number of camera points add to the feeling of direness when the taxi grinds to a halt the man who at that point escapes the taxi without paying and starts to keep running while with the camera following him. Hurrying to get his train with the high paced vivacious music still playing, he is appeared to pursue his train. The film title is seen on the back of a train “The Darjeeling Limited” which indicates that the motion picture will be about this train and include it, along these lines of putting the film title in adds to the inundation of the film as it doesn’t remove you from it by putting irregular content onto the screen

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LIMITED

Fig:60 Inside the Train Darjeeling Limited

rather making it part of the mise-en-scene. The opening has coherence altering as it is one persistent piece with consistent altering which isn’t evident and is undetectable for instance it doesn’t disrupt the 180 guidelines. Over this a cutaway is utilized to demonstrate the significance of time as it demonstrates a nearby of a clock.DJ2 Another fundamental character is appears past our first character, the high pace music becomes dim and is supplanted by this society banjo music very American like it is clearly a track and not part of the score. Moderate movement is additionally added to accentuate this character I think as a significant cool individual with him bouncing onto the back of the moving train in a cool and gathered style, with him at that point turning back towards our first character and taking his glasses off his shades with the camera completing a nearby of his face to demonstrate the feeling of a slight smile that the other man did not make it on the train. https://loretow1group2016.wordpress.com/2016/01/14/investigation

of-film-

opening-the-darjeeling-restricted/

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THE

ROYAL

Fig:61 Inside the Work space in the Home

The Royal Tenenbaum(played by Gene Hackman) and his beloved wife, Etheline (played by Anjelica Huston), their three children - 1. Chas 2. Margot 3. Richie after the seperation, Chas (played by Ben Stiller) already started buying mansions and real estate in his youth and had all the understanding of international finance. Margot (Played by Gwyneth Platro) who is adopted, playwriter and in her teen she received a Grant of Braveman of $ 50,000 in the ninth grade. And talking about the Third son Richie (Played by Luke Wilson) was a champion of tennis player and has won the U.S. three Nationals years in a row. After two decades suddenly all the memories of the brillance in all the three young Tenenbaums was subsequently erased because of severe failure, disaster and betrayal. The Royal Tenenbaums is a very touching, hilarious, and brilliantly stylized research of melancholy and redemption by Wes Anderson.

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TENENBAUMS

Fig:62 Outside of the Docks

There are some tricks and techniques is very particular utilized for further conveyed the idea of individual interpretation and sylised. The the cover of the soundtrack finely demonstrating the whole process behind producing the new meaning, All of the three children has their own ability as Chas’ being businessman , Margot being as a Playwriter and at last Richie as a tennis player all combined as the interpretations of their father’s need from all of them.

The Royal Tennebaums as a fictious interpretation, Anderson added his own eccentric and meticulously profound details, because this understanding of the subjective source is developed through his filmic interpretation. Anderson establishes in the beginning of the movie his own sense of vision and the scene depicts his own tastes that defined by its idosyncratic nature, the starting scene with the two hands reaching for the library book for the stamp is his own perhapes, from the color scheme of the dress yellowish jacket completes the sense of space by shooting the scene from the above.

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NARRATIVE Act - 1 Zero / Gustave,Madame cv dut,Lift scene (color red) Every activities shown in hotel from every angle possible.Interview of zero by gustave.h Mendl’s Store and inner part agatha with cakes in a bakery.

Act -2 Death of madame cv dut, Train scene conflicts going with the troops and heading towards madame cv dut ,Lutz Dead madame’s body and her house in lutz, her son Dmitri and his 3 sisters. Deputy kovacks represented her last will and testments.

Reading the will of madame cv dut and she declared one painting to the name of Gustave.H handed painting named Boy with Apple. Fighting scene with four of them 1. Dmitri to Gustave. 2. Zero to Dmitri . 3. Jopling to Zero Stealing of boy with apple Gustave and zero. Henckles found out the false name written on the paper and still n disguise. Arrested Gustave.H and put him in the jail.

Act -3 Death of Deputy Kovacks Jail break scene and planning to move out from it. Recurring scenes of the receptionist from different hotels for gustave.H Act -4 Hotel becomes toops barrack Agatha stole painting (Boy with apple) Dmitri follows her and start shooting Gustave and zero safe covered themselves and henckels calmly handled all of them.Agatha jumps and zero too for saving her and found out something behind the painting. “confidential” Act -5 That letter opened by henckles from madame to gustave.H handed all the property and hotel on the the name of him. movie again went to the train scene and again conflicts occured between toops and gustave and then they shot him dead. Now the new conceirge of the hotel is Zero moustafa hmself after her wife agatha died in some disease.

Film ended up coming again to the present era .

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Emotional Variable

Spatial Tools

Space Composition

Cal mness Bored Less-Interest Anxiety

Elevation

Plan

Questionable

Curiousity Clueless Thinking Delightful

Screens

Scale and Volume

Serene

Happy Joyful sad Sinful

Staircase

Arches

Mournful Cunningness Anxiety

Symmetry

Columns

Cheerful Disguise Dillema Busy Surprise

Volume

Door, facade

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These are the Five fundamental aspects to decode and analyse every frame in all the three movies.

- It can depicts through different

- It can be depicted very distinguished

frame by frame interiors in cinema. It

meaning all-togather, It can take

gives overall sense of the place and

the imagination to beyond physical

time.

reality and visual to solve extend.

- It is important to linked all the frames whenever there’s a trasition

- The whole message convey through

from one point of view to another.

the Interior where narration took

Specific style of cinematic interiors

place in that same scene.

depicts particular time period when they linked with the narrative in the film.

- It clearly shown the first image

- Uses the symmetrical aspect in the

that strikes into your mind first when

space through the narrative with the

someone see the frame for the first

fantastic combination of lights.

time.

- Space can be defined as a culture - It directly draws the attention

as well as social in cinema.

towards the most eyecatching space making element and the character

- Space can be mere visual and

who is in the focus of the scene.

fuctioning background where every activities were set in the frame.

- Relationshio between the character is depicted through its particular position in the space.

- It is most active element in the narration, it can be seen both ways as an individual and can be in the contrast of it

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The Grand Budapest Hotel 2014 Drama/Crime

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Historical Context : Recorded setting in The Grand Budapest Hotel will be centered around the principle segment of the film, which happens in Europe in 1932.

The landmass is on the very edge of war and is referenced in the film.

For instance when Mr Gustave and Zero are on the train making a beeline for Schloss Lutz. It is proposed that the anecdotal nation of Zubrowka is at war with itself, this is like numerous Eastern European nations that persevered through common wars in the mid twentieth century. The weapons that are seen and utilized in the film are the run of the mill rifles that would’ve been utilized in this period.

The inn being a significant extravagant foundation for the affluent demonstrates that individuals who weren’t influenced by the extraordinary dejection of the 1930s were very wealthy and delighted in alluring spots like The Grand Budapest.

In the mid twentieth century there were very few medical advances and individuals were all the while biting the dust from deadly illnesses. This is appeared in the film as Zero clarifies how Agatha and their child kicks the bucket from the Prussian Grippe.

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Cultural Context : Style during the 1930s is the most prominent piece of the social setting in The Grand Budapest Hotel. The men of the film are for the most part all wearing tuxedos and neckties; there are a couple of special cases like Jopling who wears a calfskin coat all through.

A main character who is spruced up as not being a high society is Agatha, who is wearing regular clothes. Fur garments can be seen however tattoos are likewise present in the film: Ludwig is canvassed in them.

It was as yet popular to smoke, and inside, in the mid twentieth century and numerous visitors of the inn can be seen smoking inside. Zero and Agatha go to the auditorium to watch a film in a short shot in the film, demonstrating that films were at that point a typical type of amusement in that time-frame.

Distinctive sorts of transport can be seen amid the film, for example, vehicles, bikes, motorbikes, funicular rail and train. The primary plot of the film includes the estimation of an ‘extremely valuable’ painting that Mr. Gustave acquires, this demonstrates the estimation of craftsmanship was conceivably high in that time-frame as Dmitri’s family go to incredible degrees to recover the artistic creation.

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Social Context : Society in the 21st century is developing to object to homophobia, much like bigotry it is viewed as inadmissible.

In any case, in the mid twentieth century, individuals utilizing homophobic terms, for example, ‘Natural product’ and ‘Fagot’ utilized

by Dmitri towards Mr. Gustave in The Grand Budapest Hotel were progressively normal.

Zero and Agatha are younger than 20 in the principle segment of the film that they get hitched at what might be viewed as a youthful age in the present day.

It was increasingly regular for individuals to get hitched at more youthful ages decades prior as things like ladies who work and individuals getting an advanced education by and large turned into significantly progressively typical quite a while after when the film was set. Despite the fact that the film is set quite a while prior, harsh speech that is basic today is utilized by the characters in the film.

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Zubrowka post - 1985 In the starting of the film the young girl hang the keys on the tombstone of the late Author. He is the writer of the book named The Grand Budapest Hotel. This is the present time after 1985.

Zubrowka - 1985 In 1985 the Author discloses the story of the Hotel Grand Budapest against the workplace he was sitting at the house.

Zubrowka - 1968 The time shows the rafty condition of the Grand Budapest Hotel. The Interior of the hotel seems to be barren as the hotel taken the mid century vibe.

From the setting of the space in the Hotel the whole arrangement of the lodging depicts the time period and the present condition of the hotel itself.

Zubrowka - 1932 The whole frame is now set Zubrowka in 1932 as the Grand Budapest Hotel is in the center of the story and its has very shading color palette. The film is now essentially set in 1932, which is the year that war come to devastate everything in the town.

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NARATTIVE The film starts with women holding a book named “The Grand Budapest Hotel�

walking

into

a

cemetery

of

Zubrowka,

Old

Lutz

Cemetry.

The time said 1985 - Author of that book (Tom Wilkinson) sitting in his home at the desk addressing to the audience and starts telling the story about The Grand Budapest Hotel.

So now frame directly changes from 1985 - to 1968 so when the period changes in the movie the frame of the screen is also changes from 16:9 to 4:3.

1968 - Author in his youth played by (Jude Law).He went straight to the Hotel Grand Budapest and experienced that the whole town has been ruined due to the war. And after he went to the hotel and finds that very few people were around and were remain as a guest in the hotel except that few patrons.

On one fine day the author ask the concierge M.Jean (played by Jason Schwartzman), he happened to see an old man (played by F.Murray Abraham) was sitting alone in the sofa in the lobby near the reception desk, probably he seems to be sad or lonely.

When the author asked M.Jean that who he was, Jean replied that the old man who was sitting alone is non-other else but Zero Moustafa himself, the one and only owner of the hotel. The author was surprised by the answer of the M.Jean that the old man only occupied a small servants quarters in this Grand Budapest Hotel. But suddenly the man sitting the lobby was started chocking and they have to end their conversation because Jean rushes to help him. Then the author went up to his room through the elevator. As the days passed by, the more curious author was about that old man Zero Moustafa. But one day they both incidenttaly met in the hotel’s bath.

And after that moment Moustafa invited him on the dinner late evening, on the dinner table Moustafa starts telling his life experience and begin his own story in this hotel.

Act 2 - M. Gustave Now the movie takes the period to 1932 - Moustafa starts the story from the back days of his teenage life. As the young Zero (played by Tony Revolori) who was keeping the accounts and assisting the all the members who were present at that time in the Grand Budapest Hotel, now introducing the great concierge, M. Gustave

38

NARATTIVE H. (played by Ralph Fiennes), as all the members were cooking the food for him and an elderly beautiful woman named as Madame D. (played by Tilda Swinton).

As she was returning from the hotel to home, Gustave to light

a candle for herself and

but before she leaves, asked

after that, she

drove back home

saying “I Love you” to Gustave H. After introducing “formally” Zero for the first time to Gustave, He very soon asked his employ and knowing that he is here at the hotel for the trial basis and soon Gustave takes an impromptu interview of Zero.

Gustave now acts as his mentor, and the story introduced Minister Deputy Kovacs (played by Jeff Goldblum) came to the hotel as for just the owner of the Grand Budapest is a mystery so he came for a checkup to the business.

During this, all-time Zero met his love of life in a small but very well known bakery, Gustave’s favorite place because of her skill of making pastries. A girl with a distinctive birth mark on her cheek named Agatha (Saoirse Ronan) , who works as a baker at Mendl’s.

Act 3 - Madame C.V.D.u.T On one morning fetching some newspapers, Zero got shocked by the news he read in one of the columns on the newspaper and rushes back to the hotel to inform Gustave about that news, the paper says that Madame D was found dead in her bathroom. So they immediately leave everything behind and travel directly to the estate of Madame D. While traveling, the train suddenly stops at barley field and leading some group of soldiers into the compartment and asked for the documents of both. Gustave has his documents, but Zero is an immigrant so doesn’t have documents and this lead into a fight between them and soldiers. So immediately inspector Henckels arrives (played

by Edward Norton) and gives a little card for a trip, but needs to get official papers as soon as possible.

Gustave and Zero now arrive at the Madame D’s estate, Her maid Clotilde (Lea Seydoux) was waiting for them to arrives and she guides them straight up to the old woman’s body which was in the casket. Gustave starts praising corpse as if shes still alive in front of her. As he informed by her maid that their butler serge X (played by

39

NARATTIVE Mathieu Amalric) wants to share some words with him. As he was frantic and get hysterical so rushes off.

Gustave and Zero suddenly find themselves into a room, where all the people who have gathered for reading out the will of Madame D. And the executor of her estate was Deputy Kovacs himself he has to examine all of her numerous amendments.

Dimitri her son (Played by Adrien Brody) and his three sisters, Marguerite (Played Michaela Caspar), Laetizia (Played Sabine Urig), and Carolina (Heike Hanold-Lynch). was also presented in the room. Deputy Kovacs started reading out the will that was still being investigated, it was said “Thank you, Gustave, for being in her life and his kindness, and cherished him with a painting named “Boy With Apple.”

Dimitri angrily yelled as soon as Gustave come forth for claiming the painting and showers on him with some homophobic words and refused for giving the painting.

A small fight happens amongst Dmitri, Gustave, Zero and right-hand man of Dmitri, J.G. Jopling (Willem Dafoe).

Gustave brings Zero to the room where the painting “Boy with Apple” was hanging.

He started admiring the painting for a little while, and take it down with the help of Zero and quickly replaced with a different painting. Gustave then asked serge X to wrap that painting “Boy with Apple.” at that moment Serge X tucks a small envelope “CONFIDENTIAL” written on it and slides into the backside of the painting and immediately wrapped it and gave back to Gustave.

When they reached back to the hotel with the painting, they silently went to the secret vault and hide it with the special code, at the same moment Henckels arrives at the hotel for arresting Gustave as the suspect as an assassin for Madame D’s murder. As Zero was standing and watches that Gustave attempt to run but finally ended up in the prison.

Section 3 - Check Point 19 - Criminal-Interment Camp Gustav is now imprisoned, Zero is shocked seeing several injuries on the face of Gustave. Few days after Gustave was become concierge over there also and every

40

NARATTIVE other day he served mush to all the prisoners by going to their doors and knocking each of others. He also gives one compliment form Mendl’s Every day to his friends.

After offering the cake the four men wants help from Gustave to get out form the prison.

At the other end, there was some paperwork is missing in the will of Madame D, and the butler Serge X was found missing. Later, Kovacs was on the way and suddenly he saw Jopling was following him and after some chase Jopling pulls him inside form the door with a slam, chopped four of his fingers on the ground and picked up by Jopling.

In the room, Agatha got informed by Zero, discloses the secret that they have had stole one painting “Boy With Apple” and give her little information about the vault and the painting.

As in the prison, all of them was done with planning for escape from here, they were on their way of getting out from the prison. Where at the outside Zero was waiting for Moustafa to arrive at one point. And when after some time they found one Telephone box and suddenly calls for some help..

Section 4 - The Society of the Crossed Keys As Gustave sent the message for getting help from all the attendants across that

the the

various

route

is

Hotels

in

connected

Zubrowka,

with

later

telephones

it

through

was

discovered

all

attendants.

1 . M. Ivan (Bill Murray), 2. M. Martin (Bob Balaban), 3. M. Robin (Fisher Steven), 4. M. Georges

(Wallace Wolodarsky), 5. M. Dino (Waris Ahluwalia)

And at the end, one car came across the telephone booth where Gustave and Zero were standing in the space blankly, It was M. Ivan who saves them from wide open.

Meanwhile, Agatha decides to retrieve the painting “Boy With Apple” utilizing the data given to her by Zero, and strides warned her about something moving towards her room.

In the church when Serge tells everything about the will and it has been devastated by Dmitri and the family, But Serge confidentially had the skill to conquer a duplicate of the will. Before he says the location of the will, he falls suddenly behind the chamber.

Jopling

ran

Gustave

and

away Zero

after running

choking after

him

Serge from

to the

death, entryway.

Jopling was about to kill Gustave as he was hanging from the edge of the frosty mountain and suddenly Zero pushes the Psycho killer over the edge,to the death.

41

NARATTIVE Part 5 - The Second Copy of the Second Will The Grand Budapest Hotel has been occupied by the troops and also the military has control over numerous rooms of the hotel. In the absence of Gustave and the lobby boy Zero, all the obligations have transferred to a man called M. Toss (played by Owen Wilson) When the Dimitri and his family enter the porch of the hotel, He spies Agatha, who is holding the painting and suddenly starts moving towards the lift and when they reach the 6th floor, Dmitri follows her to the end of the lobby.

As soon as Dmitri starts shooting against Gustave, all the Military men start shooting coming out of their room. Henckel reached the point and ordered all of them to stop shooting, meanwhile Zero jumps out of the window to save Agatha and result falling together into the wagon full of Mendl’s Boxes After seeing the envelope behind the “Boy with Apple” which was covered up by Serge X. Henckels opens the second will having all the lodging staff, military and With Dimitri, Gustave, Zero, Agatha. The will declare some parts of some of the organizations and she also claims the responsibility of The Grand Budapest Hotel in the name of Gustave H. In son

a

newspaper,

it

is

Madame

D

has

of

clearly

mentioned

vanished

from

that the

Dimitri, town

the

suddenly.

Zero has been married to Agatha in the presence of The Crossed Keys Society, however, Zero mentioned that his child and Agatha died in a very short time, from a lethal disease.

The

story

Gustave,

turns

Agatha,

again and

Zero

into

the

stopping

train at

the

compartment same

barley

with field.

As the Old Zero was leaving from the dining area, the author asked about the result as the end about the Gustave. Old Zero mentioned that the fighters shot him dead and after that, the everything that Gustave possessed came to Him (Zero).

The film closes the plot again at the cemetery as the young girl closing the Author’s book.

42

Act 0 , Scene - 1 On one fine day the author ask the concierge

M.Jean

(played by Jason

Schwartzman), he happened to see an old man (played by F. Murray Abraham) was sitting alone in the sofa in the lobby near the reception desk, probably he seems to be sad or lonely. When the author asked M. Jean that who he was, Jean replied that the old man who was sitting alone is non-other else but Zero Moustafa himself, the one and only owner of the hotel.

The author was surprised by the answer of the M. Jean that the old man only occupied a small servants quarters in this Grand Budapest Hotel. But suddenly the man sitting the lobby was started chocking and they have to end their conversation because Jean rushes to help him. Then the author went up to his room through the elevator.

As the days passed by, the more curious author was about that old man Zero Moustafa. But one day they both incidentally met in the hotel’s bath. And after that moment Moustafa invited him on the dinner late evening, on the dinner table Moustafa starts telling his life experience and begin his own story in this hotel.

43

Fig : 63 The Grand Budapest Hotel Act : 0/5 Scene : 1/8

In this frame the young author is climbing the stairs coming straight from the front door across the reception table . A clear contrast can be seen from the ceiling to the bottom of the hotel. It has mild touch of Art-deco style of color and the little detailing of the walls and columns. The first character is in the focus of the camera as he is an author and comes to interview the man standing behind him in the background.

Camera angle is in such a way that the staircase looks grand enough and welcoming in the composition leading straight to the reception desk. The character has significant role in the frame as he is starring at someone and focused as the frame is set in one point perspective with precise symmetry. There are only two characters in the frame as we know one is in the background in shown in the left and another one is in the center so it depicts that the story will revolve around these two characters.

Underlaying grid with symmetry and axis

44

Placement of every main character in the frame.

Space making elements in background & foreground

Fig : 64 The Grand Budapest Hotel Act : 0/5 Scene : 1/8

This frame includes two characters complimenting the composition as it is set as the Author is in the front and the Concierge of the Hotel is in the background, because of that the hierarchy is followed by the profession. Concierge and Author has some conversation standing in the middle of the two columns and has the painting of Boy with the Apple in the background. As most prominent spatial elements in the frame are those two columns that built boundary of the frame, it creates frame within a frame so that all the focus will remain onto those two characters standing in the center of it.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

45

Fig : 65 The Grand Budapest Hotel Act : 0/5 Scene : 1/8

As the frame is set in the same view but from different angle and portraying two characters, one is standing that is the receptionist and other is in the side of the frame sitting in the sofa chair. So it depicts the importance of the character who is sitting in the story and through the color contrast of his coat and overall space shows the richness in the attitude of the man and calmness in the whole space, with no activities happening.

Underlaying grid with symmetry and axis

46

Placement of every main character in the frame.

Space making elements in background & foreground

Fig : 66 The Grand Budapest Hotel Act : 0/5 Scene : 1/8

This shot is taken from little far showing the staircase going up from both the side and no interaction is going on with the characters. Wide angle to focus attention on the protagonist. Protagonist becomes the unbalanced element in the balanced frame.

More focus on the Renaissance painting in the background

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

47

Fig : 67 The Grand Budapest Hotel Act : 0/5 Scene : 1/8

Same shot taken with third character looking blankly in the space. Movement of eyes is from left to right, so had zero been sitting on the left sofa, it would’ve made that side heavier. And also because it’s after the conversation of the protagonist and receptionist that zero is being focused in the scene, the positioning is done so. (Left to right) The laundry lady’s presence is just an indication of the place being some hotel.

Underlaying grid with symmetry and axis

48

Placement of every main character in the frame.

Space making elements in background & foreground

ACT - 1 / SCENE - 2 M. Gustave

Now the movie takes the period to 1932 - Moustafa starts the story from the back days of his teenage life. As the young Zero (played by Tony Revolori) who was keeping the accounts and assisting the all the members who were present at that time in the Grand Budapest Hotel.

Now Gustave

introducing H.

(Played

the

great

by

Ralph

concierge,

M.

Fiennes),

as

all the members were cooking the food for him and an elderly beautiful woman named as

Madame

D.

(Played

by

Tilda

Swinton).

As she was returning from the hotel to home, but before she leaves, asked a candle for herself and

Gustave to light

after that, she

drove

back home saying “I Love you” to Gustave H. After introducing “formally”

Zero for the first time to

Gustave.

He very soon asked his employee knowing that he is here at the hotel for the trial basis and soon Gustave takes an impromptu interview of Zero.

49

Fig : 68 The Grand Budapest Hotel Act : 1/5 Scene : 2/8

This frame has a distinguished background which has the activities going on and only two characters are in the middle of the frame. Color in the background is very subtle and gives the feel of neo classical style. As in the storyline, the concierge is informally taking interview of the new lobby boy which is assigned on trail basis. So overall feel of the seen is formal as all the activities happening on the side and informal conversation is going on in the middle of the frame.

symmetry and axis

50

Placement of the character

Space making elements

Fig : 69 The Grand Budapest Hotel Act : 1/5 Scene : 2/8

“RED� in the background is very bold color to choose for the any scene,but in this shot Red color is used in such a way that highlights each of the characters in the frame.

The overall mood of the scene is sad because the main two characters sitting on the side are having a conversation and the lady grabbing the shoulder of the Gustave H while leaving from the hotel. This particular scene is shot in the Lift which might not get noticed at the first glance but when focused on the posture of the lift man standing and controlling it has prominent expressions on the face. There is an order in which Anderson placed his characters in the place which is clearly shown in this shot.

symmetry and axis

Placement of the character

Space making elements

51

Fig : 70 The Grand Budapest Hotel Act : 1/5 Scene : 2/8

This particular frame set in very differently but coveys the message with respect to the placement of the characters based on the hierarchy. As the scene is captured in such a way that the lobby boy is in the front and the concierge is in the cabin placed perfectly in the center off the scene. This frame has conveyed the journey of the character in the story from a lobby boy to the concierge. When you points out the column standing focusing to the cabin it drives all the attention to the concierge cabin All of the color in the background somehow submerged into each other where the character is standing out because of the color contrast and breaking the order in a symmetrical shot.

symmetry and axis

52

Placement of the character

Space making elements

Fig : 71 The Grand Budapest Hotel Act : 1/5 Scene : 2/8

There is perfectly organized symmetry in this shot.

As the circle composition is placed in the middle of the motif which is also drawn to the carpet underneath the table. This shot is showing 4 motifs in the corner and the four characters performing activities in the reception table. This is the reception table of that era and also the color scheme depicts the neo classical style which takes you directly to 60’s.

symmetry and axis

Placement of the character

Space making elements

53

ACT - 2 / SCENE - 3 Madame C.V.D.u.T Gustave now acts as his mentor, and the story introduced

Minister

Deputy

Kovacs

(played

by Jeff Goldblum) came to the hotel as for just the owner of the Grand Budapest is a mystery so he came for a checkup to the business.

During this, all-time

Zero met

life in a small but very well

his

love of

known

bakery,

Gustave’s favorite place because making pastries. mark on her cheek Ronan) ,

of her skill of

A girl with a distinctive birth named

Agatha (Saoirse

who works as a baker at Mendl’s.

On one morning fetching some newspapers, Zero got shocked by the news he read in one of the columns on the newspaper and rushes back to the hotel to inform Gustave about that news, the paper says that Madame D was found dead in her bathroom. So they immediately leave everything behind and travel directly to the estate of Madame D. While traveling, the train suddenly stops at barley field and leading some group of soldiers into the compartment and asked for the documents of both. Gustave has his documents, but Zero is an immigrant so doesn’t have documents and this lead into a fight between them and soldiers. So immediately inspector Henckels arrives (played

by Edward Norton) and gives a little card for a trip, but needs to get official papers as soon as possible.

54

Fig : 72 The Grand Budapest Hotel Act : 2/5 Scene : 3/8

The small window in the frame is in the focus of the shot. As the shot is in symmetry but from the first glance the character will not appeared into anyone’s vision. The small window is in the center of all and some private conversations happening behind that window. So overall frame has one subtle feeling but when frame zooms into the window those three characters will fall into the frame with some disguised expressions on all of them. The chandelier and the lights were continue the same language as in the rooms and walls with distinctive borders embossed onto it.

symmetry and axis

Placement of the character

Space making elements

55

Fig : 73 The Grand Budapest Hotel Act : 2/5 Scene : 3/8

The overall character of the space is very raw and has very distinctive type of background. The shot is taken from the kitchen of the bakery name MENDL’S . Walls are unfinished very low lighting in the space and the character is in the focus with the efforts of her making pastries. Anderson shows the introduction to each character in every different style and In here he shown cross-culture by putting the strong character in the frame and she has the strange birthmark on her face that depicts the map of Mexico.

symmetry and axis

56

Placement of the character

Space making elements

Fig : 74 The Grand Budapest Hotel Act : 2/5 Scene : 3/8

As the story move forward the lobby boy figured out that Madame CV dut has been found dead in her bathroom. As the scene open up with the wide shot looking onto the reception table and can easily see that all the space is visually divided into three parts red carpet drool all over the floor with different motif and columns with marble finished till the first floor and simple finish from the first floor. And the lobby boy is running towards the camera with the bad news taking to the Gustave. Thats how Anderson shown chaos shown with very subtle movement of the character and rest of all the furniture is placed in order without any interaction.

symmetry and axis

Placement of the character

Space making elements

57

Fig : 75 The Grand Budapest Hotel Act : 2/5 Scene : 3/8

Two of them are traveling to the Madame d’s house on her funeral. The whole shot includes the boogie and its interior from the modern time s as the shot is taken outside from the window showing two characters talking about something. All over feeling in the frame is little low because of the death and thats how Anderson plays with the browns in the background and Blues in the front. These both character is into some serious conversation as each has strong eye contact with each other. And again the frame in great symmetry which clearly shows order in the compartment and stark contrast with two blue identities.

symmetry and axis

58

Placement of the character

Space making elements

ACT - 2 / SCENE - 4 Madame C.V.D.u.T

Gustave and Zero now arrive at the Madame D’s estate, Her maid Clotilde (Lea Seydoux) was waiting for them to arrives and she guides them straight up to the old woman’s body which was in the casket.

Gustave starts praising corpse as if shes still alive in front of her. As he informed by her maid that their butler serge X (played by Mathieu Amalric) wants to share some words with him. As he was frantic and get hysterical so rushes off.

Gustave and Zero suddenly find themselves into a room, where all the people who have gathered for reading out the will of Madame D. And the executor of her estate was Deputy Kovacs himself he has to examine all of her numerous amendments.

59

Fig : 76 The Grand Budapest Hotel Act : 2/5 Scene : 4/8

That’s a tragic change in interiors and as well the lighting all over the space. The focus point in the frame is the middle of the staircase and very focused camera angle towards the leopard and look like rich family as the finished is all wood with dark brown shade and less luminosity throughout the space. Victorian interiors huge triple height with grand inviting stairs lead to the upper floor. The closer look onto the staircase shown the hierarchy who lead towards the location. Strong order can be derived by the same distance all the three characters is walking straight up to the another floor.

symmetry and axis

60

Placement of the character

Space making elements

Fig : 77 The Grand Budapest Hotel Act : 2/5 Scene : 4/8

Again this frame is in proper symmetry, three characters is in the foreground and the axis of the huge painting( family tree) is maintained very meticulously, with the ambient and the light is focusing into the middle mildly spread over the wall and chandeliers also lit up fully on the both sides of the frame. Wide shot from across the walkway from the middle showing huge proportions of the corridor with he same language of the interior and very intricate carved aesthetic.

symmetry and axis

Placement of the character

Space making elements

61

Fig : 78 The Grand Budapest Hotel Act : 2/5 Scene : 4/8

Here comes the element of the focus, The coffin of the Madame D. Soft spot light descending on the coffin box (creates focus) and empty chairs somehow suggest that she never had anyone and would be very lonely in her life. Instead of big chandelier small candles is lit p on the corner of the entrance porch to the coffin. As the coffin is in the middle and focused enough that all surroundings interiors and any furniture is dimmed and less in focus in the frame. And overall calmness is deprived from the scene as the camera maintain the axis and symmetry is there even with the furniture and small elements.

symmetry and axis

62

Placement of the character

Space making elements

Fig : 79 The Grand Budapest Hotel Act : 2/5 Scene : 4/8

This frame convey the message through the focus point of the camera as the Gustave H is sitting and paying attention while talking to the dead body and appreciate her.

While in the background the two other characters are also giving the respect to the dead body. Key light on Gustave face for focus. Edge of the coffin lit up. Since these are the main focus of the scene. Heavy lighting in the background to subtle down the intermediate elements. Only one part of the dead body is highlighted at the end of the coffin. Her red shoes which is creating contrast between the bunch of bouquets.

symmetry and axis

Placement of the character

Space making elements

63

ACT - 2 / SCENE - 5 Madame C.V.D.u.T Gustave brings Zero to the room where the painting “Boy with Apple” was hanging. He started admiring the painting for a little while, and take it down with the help of Zero and quickly replaced with a different painting.

Gustave then asked serge X to wrap that painting “Boy with Apple.” At that moment Serge X tucks a small envelope “CONFIDENTIAL” written on it and slides into the backside of the painting and immediately wrapped it and gave back to Gustave.

When they reached back to the hotel with the painting, they silently went to the secret vault and hide it with the special code, at the same moment Henckels arrives at the hotel for arresting Gustave as the suspect as an assassin for Madame D’s murder.

As Zero was standing and watches that Gustave attempt to run but finally ended up in the prison. .

64

Fig : 80 The Grand Budapest Hotel Act : 2/5 Scene : 5/8

When Gustave H and Zero arrives secretly into the room of where the painting was hanging. Again by creating subtle contrast through the character and by keeping them standing on the carpet seeing towards the painting which is placed perfectly in the middle of the mantle piece. There is certain amount of visual chaos created through the furniture elements on the left side of the room but again the space with two big chandelier hanging in the double height. Very little light is spread all over the room focusing the painting (Boy with apple).

symmetry and axis

Placement of the character

Space making elements 65

Fig : 81 The Grand Budapest Hotel Act : 2/5 Scene : 5/8

The boy with an apple , The painting that Gustave H and Zero stole for the room.

This shot delivered the information about something that is confidential as the butler is keeping the envelope behind the painting without get noticed by anyone. By the wooden frame it creates very old and very much expensive painting it was.

66

Fig : 82 The Grand Budapest Hotel Act : 2/5 Scene : 5/8

As both of them reached the hotel they directly went upstairs into the attic or any other confidential storage room to hiding the painting (The boy with an apple). While the frame is shot in the very small room without any aesthetic but it does has the character of very less use space but well organized and have the hidden locker. With the overall color pallets of the scene it creates some fishy thoughts into the viewer’s head,after examine the expressions of both of them was tensed because they are hiding the stolen painting into the locker and on the other side some arrives to inform about the cops.

symmetry and axis

Placement of the character

Space making elements

67

Fig : 83 The Grand Budapest Hotel Act : 2/5 Scene : 5/8

On the other side of the previous frame there was a Lift man standing peeping from the arch by noticing that something wrong is happening in the room. This has very prominent character of the old servant quarters which has only one wall finish.

Anderson meticulously placed every furniture element into the place by playing with the shades of browns and black. This frame given two different perspective to look upon and beyond the arch reflector is on and focused onto the wall with very minimal spread of light.

symmetry and axis

68

Placement of the character

Space making elements

ACT - 3 / SCENE - 6

Check Point 19 -Criminal-Interment Camp

Gustav is now imprisoned, Zero is shocked seeing several injuries on the face of Gustave. Few days after Gustave was become concierge over there also and every other day he served mush to all the prisoners by going to their doors and knocking each of others.

He also gives one compliment form Mendl’s Every day to his friends. After offering the cake the four men wants help from Gustave to get out form the prison.

At the other end, there was some paperwork is missing in the will of Madame D, and the butler Serge X was found missing. Later, Kovacs was on the way and suddenly he saw Jopling was following him and after some chase Jopling pulls him inside form the door with a slam, chopped four of his fingers on the ground and picked up by Jopling.

In the room, Agatha got informed by Zero, discloses the secret that they have had stole one painting “Boy With Apple” and give her little information about the vault and the painting.

69

Fig : 84 The Grand Budapest Hotel Act : 3/5 Scene : 6/8

When story takes another turn after Henckles arrest Gustave H in charge of murdering Madame D. Zero visits for the first time in the prison to meet Gustave H and as in the shot he is shocked after see many wounds on Gustave H. In this one director plays with the perforation, create screen, a little barrier between the visitor and the prisoner.

Zero is only in the frame and focused waiting for the Gustave with the cake from the Mendl’s. Symmetry is again on point with different color palette all together. It depicts the overall the feel of prison with a chair and a small glass placed on the table. In the background there is arch which defines only one entry/exit is there for the visitor.

symmetry and axis

70

Placement of the character

Space making elements

Fig : 85 The Grand Budapest Hotel Act : 3/5 Scene : 6/8

This particular scene talks about the enclosed space which doesn’t has the access of the natural light. Through all this railings acts like screens and it gives the meaning of transparency to the space and reduced the visual load of the prison. There is little balance of order in the space and maintaining the same axis but different camera angle shows the overall monotony of the prison. The space has repetitive elements that shows the monotonous life and less interaction between everyone. Though the color scheme is cooler from inside and the color of the dress is camouflage in the background .

symmetry and axis

Placement of the character

Space making elements

71

Fig : 86 The Grand Budapest Hotel Act : 3/5 Scene : 6/8

This shot has very focused subject in the center.

Deputy Kovacks Office As the there are no walls shown in this scene. From the background its clearly figured out that this was shot in the context of office space.

The books in the background is in some order and organized in every shelves, As the table is full of paper rolls and some other documents is lying on the table. After observing the expression of the Deputy Kovacks it is very tensed situation on the other side of the table.

symmetry and axis

72

Placement of the character

Space making elements

Fig : 87 The Grand Budapest Hotel Act : 3/5 Scene : 6/8

The house of the Herr Mendl’s. When Zero sneaks into the house and tells Agatha about the painting he and Gustave had stole. The background is simple curtain with repetitive motifs, and same tints is used in all over the frame with very subtle light above her head. The feeling of overall scene is very fierceful and also in dilemma about everything happening on that moment.

symmetry and axis

Placement of the character

Space making elements

73

ACT - 4 / SCENE - 7 The Society of the Crossed Keys

Where at the outside Zero was waiting for Moustafa to arrive at one point. And when after some time they found one Telephone box and suddenly calls for some help..

As Gustave sent the message for getting help from all

the

attendants

across

the

various

Hotels

in

Zubrowka, later it was discovered that the route is connected

with

telephones

through

all

attendants.

1 . M. Ivan (Bill Murray), 2. M. Martin (Bob Balaban), 3. M. Robin (Fisher Steven), 4. M. Georges Wolodarsky),

5.

M.

Dino

(Waris

(Wallace Ahluwalia)

And at the end, one car came across the telephone booth where Gustave and Zero were standing in the space blankly, It was M. Ivan who saves them from wide open.

74

Fig : 88 The Grand Budapest Hotel Act : 4/5 Scene : 7/8

Recurring scene when one concierge from one hotel is trying to connect with different hotels in nearby region. This frame has 3 characters as the lobby boy is also helping the concierge and in the background there is little luminous and dress color is similar.

symmetry and axis

Placement of the character

Space making elements

75

Fig : 89 The Grand Budapest Hotel Act : 4/5 Scene : 7/8

When in this frame the subject is standing little off left and holding the telephone from the right hand side. Passing the line to other concierge contrasting background with medium light in the two corners.

symmetry and axis

76

Placement of the character

Space making elements

Fig : 90 The Grand Budapest Hotel Act : 4/5 Scene : 7/8

Cross-culture depiction of Anderson is shown here in this frame with the Indian concierge on the telephone. This has very muted orange and red color highlighted because of the subtle play of lights and the background. Except than the character everything is in the place and is in extreme symmetry with every intricate details.

symmetry and axis

Placement of the character

Space making elements

77

Fig : 91 The Grand Budapest Hotel Act : 4/5 Scene : 7/8

With the same composition in the below frame but with different color scheme and again the position of the concierge is change to the left and the character of the space is also goes with the attire.

symmetry and axis

78

Placement of the character

Space making elements

Fig : 92 The Grand Budapest Hotel Act : 4/5 Scene : 7/8

And the last composition is remain same door in the middle and the storage for the keys on the sides and subject is again shifted to the right. Overall palette is shades of red which is the end of the conversation .

symmetry and axis

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79

ACT - 5 / SCENE - 8 The Second Copy of the Second Will

When the Dimitri and his family enter the porch of the hotel, He spies Agatha, who is holding the painting and suddenly starts moving towards the lift and when they reach the 6th floor, Dmitri follows her to the end of the lobby.

As soon as Dmitri starts shooting against Gustave, all the Military men start shooting coming out of their room. Henckel reached the point and ordered all of them to stop shooting, meanwhile Zero jumps out of the window to save Agatha and result falling together into the wagon full of Mendl’s Boxes After seeing the envelope behind the “Boy with Apple” which was covered up by Serge X. Henckels opens the second will having all the lodging staff, military and With Dimitri, Gustave, Zero, Agatha. The will declare some parts of some of the organizations and she also claims the responsibility of The Grand Budapest Hotel in the name of Gustave H. In a newspaper, it is clearly mentioned that Dimitri, the son of Madame D has vanished from the town suddenly.

80

Fig : 93 The Grand Budapest Hotel Act : 5/5 Scene : 8/8

When the Grand Budapest Hotel is under the troops and they transform into barracks by hanging flags all over the hotel in the absence of the Gustave H and Zero. Hotel turns into troops barrack showing the contrast through scale and levels. The contrast set between the upper and the lower half helps focus on the lady character in the frame holding the painting (A boy with apple). After segregation of the army officers to the two extreme corners and the space in front of the subject is free so the central lane gets focused. On the upper level they have shown more officers for the great sense of time and space through all the characters and little haziness in the frame.

symmetry and axis

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81

Fig : 94 The Grand Budapest Hotel Act : 5/5 Scene : 8/8

This composition has very much character of renaissance as they have shown arches with ornamented double columns and the character is standing right in the middle of the arch. From this there is one axis maintained in this wide angle shot when order takes place when the background and the foreground has immense amount of language difference but because it does follows similar color palette all over the space. Space - composition has many spatial and space making elements with all intricate detail and ornamentation is shown from bottom to top .

symmetry and axis

82

Placement of the character

Space making elements

Fig : 95 The Grand Budapest Hotel Act : 5/5 Scene : 8/8

When everybody get to know about the second copy of the second will , Henckles opens in front of all the members who are involved into this case. As the procedure of opening the envelope is going on, all the crowd in acclimate into the semicircle and all have their eyes into the envelope. The angle of the camera is set in a such a way , the space is looking so small less than a room with the huge painting in the background.

symmetry and axis

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83

Fig : 96 The Grand Budapest Hotel Act : 5/5 Scene : 8/8

As the envelope opens and announced that the Hotel Grand Budapest is on the name of the Gustave H. Then the angle of the camera zoomed out revealing the same space is now drastically transform into a gigantic opera house and then this shot declared the real meaning behind the title “The Grand Budapest Hotel�. As the big crowd in the previous shot now actually has occupied very small space in the grand opera hall.

symmetry and axis 84

Placement of the character

Space making elements

Fig : 97 The Grand Budapest Hotel Act : 5/5 Scene : 8/8

In the end everything is declared on the named of Gustave H. This frame defines the real duality of theperson, who was once concierge in the same hotel and now he owns it. In the background the color on the arches remains the same subtle pink but Anderson again creates fantastic contrast not only through the color but also the composition in which he chose Gustave H ro be placed in the middle of the all the Ladies and all of them wearing black so it creates sense of formal celebration.

symmetry and axis

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Space making elements 85

86

87

88

The Darjeeling Limited 2007 Drama/Indie

89

CONTEXT Darjeeling is a road trip movie.

The

film’s

ritual

background

is

pilgrimage, with its promise or fantasy of healing and communitas. The Whitman

brothers,

Francis,

Peter,

and Jack Whitman (played by Owen Wilson, Adrian Brody, and Jason Schwartzman), come together in India for, as the elder brother Francis puts it, a “spiritual journey.” Travelling by train the brothers are to visit some of India’s significant religious sites in the hopes that the journey will, again according to Francis, allow them “to become brothers again, like we used to be.”

The trip is conceived by Francis as an overt attempt to ritualize in service of healing wounds, which include the death of the father a year earlier and, as we come to learn, the father’s botched funeral in which, among other things, the widow and boys’ mother (played by Anjelica Huston) failed to make an appearance.

90

Anderson paints a portrait of three somewhat spoiled, quirky adults trying to find their way in a world apparently devoid of meaning.Anderson devised the trip in part because, as Jason Schwartzman noted, he was in “need of an experience” and seeking out an “adventure.” Anderson was, in Schwartzman’s words, “speaking in ways that… seemed to be welcoming or encouraging chaos and spontaneity in an exciting way.”

The

spatial

compression

and

antistructure of creating, acting, and shooting on a train in a foreign country seems to have created a liminal kind of experience for this troupe of moviemakers.

91

Narrative The first scene shows a train, The Darjeeling Limited, pulling out of the station as a man chases after it. The American businessperson played by Bill Murray reaches the station after speeding through the streets in a taxi in India. He eventually surrenders after running frantically towards the train, meanwhile a younger man surpasses him and climbs aboard. He is Peter Whitman played by Adrien Brody and meets his two other brothers on a journey through India. Following their father’s death in an auto crash, the three haven’t spoken for a year. The oldest brother, Francis, played by Owen Wilson, is the one who gathered all siblings together on this journey, after being injured in a cruiser crash which, eventually turns out to be a suicide endeavor.

The youngest sibling, Jack, played by Jason Schwartzman, had been living in Europe, and has a rough relationship with his ex, played by Natalie Portman, which is seen early on in the film “The Hotel Chevalier”. The three siblings don’t trust each other but act glad to see each other.

Francis blames his wounds and takes medicines through the film. But the other siblings soon get tired of his bossy and tyrannical nature. Jack tell Peter his plan to meet his ex in Italy. It is seen that his partner, Alice, is seven months pregnant, and he becomes restless because of it. Peter also keeps a number of their father’s things likes his bags, keys, shades, etc., which irritates Francis. Jack is disturbed about his ex. The other brothers want him to move on, since neither of them liked her, and they want Jack to move forward. Francis likes to micromanage and has planned the journey excessively.

His friend Brendan played by Wally Wolodarsky is staying in another compartment of the train and prints out timelines and agendas for the brothers. Meanwhile, Jack meets a delightful attendant by the name of Rita, played by Amara Karan. Their first stop is a sanctuary, where the brothers alight. They first go shopping, where Jack buys a nerve gas firearm and Peter purchases a snake in a box. In the sanctuary, Peter gets irritated with Francis and leaves. Jack then tells Francis about Peter’s unborn child.

While back on the train, the three brothers finally have an honest talk. Peter never wanted a child and did not anticipate that his marriage would last because of his low confidence. They then continue with their journey further.

Chaos reigns, when they discover that Peter’s cobra has escaped the container.

Unable to find it in the compartment, they ask the lead steward (Walis Ahluwalia) to find it in the lobby. The snake is finally caught and the brother are barred from leaving their compartment for the rest of the journey.

92

Narrative Cooped up in the compartment, the tension between the brothers starts to rise. Peter wnds up throwing a belt at Francis after he scolds Peter for keeping their father’s possessions. A fight breaks out and Jack ends it by spraying tear gas. This leads the head steward to throw them off the train at the next station.

Now off the train, the siblings take their luggage and bags while walking down a mud road along a river. They end up jumping into the river, after seeing three boys crossing the stream, and their raft capsizing after a swell in the current. Francis and Jack haul two brother to safety, but the third child dies. He is swept away by the current and goes over a waterfall, dying. Peter is bloodied and shaken, and with the boy’s body in his arms, is taken to the village. The three brothers are given clean clothes and food, while they boys explain that the Whitmans had saved their lives.

The brother are then invited to the boy’s funeral the next day, stopping their plans to leave.

A flashback is seen, the day of their father’s funeral. Peter and his wife, Alice, played

by Camilla Rutherford, on their way to the funeral stop at the mechanics to see if Peter’s father’s car has been repaired. They argue which makes them late for the funeral. The three brother’s estranged mother then does not attend the funeral, contrary to her promise.

The flashback ends, and the brother decide to head home. Peter gets a call from his wife, and she tells him that the child is a boy. The brothers then decide to visit their mother in the Himalayas, where she is a nun. As they arrive at the convent, they are greeted by their mother, Patricia, played by Anjelica Huston, who tells them that a man-eating tiger is on the loose. Peter and his mother then talk, where she tells him that she did not want to attend the funeral and was needed at the convent, and Peter tells her about his son.

The next day, the brothers discover that their mother has left the convent during the night. They start trusting each other in the process and decide to return home to America. As they arrive at the station to catch the train, they run and, in the process, leave their father’s suitcase behind. They finally board the train as brothers and leave the past behind.

93

ACT - 1 / SCENE - 1 The first scene shows a train, The Darjeeling Limited, pulling out of the station as a man chases after it. The American businessperson played by Bill Murray reaches the station after speeding through the streets in a taxi in India. He eventually surrenders after running frantically towards the train, meanwhile a younger man surpasses him and climbs aboard.

He is Peter Whitman played by Adrien Brody and meets his two other brothers on a journey through India.

Following their father’s death in an auto crash, the three haven’t spoken for a year.

The oldest brother, Francis, played

by Owen Wilson, is the one who gathered all siblings together on this journey, after being injured in a cruiser crash which, eventually turns out to be a suicide endeavor.

The youngest sibling, Jack, played

by Jason Schwartzman, had been living in Europe, and has a rough relationship with his ex, played by Natalie Portman, which is seen early on in the film “The Hotel Chevalier”.

The three siblings don’t trust each other but act glad to see each other.

94

Fig : 98 The Darjeeling Limited Act : 1/7 Scene : 1/7

The starting scene of the movie as they have shown an old man running across the platform to catching the train. As the whole place give the feeling of the Indian local railway lines, there is an order of the level difference shown through the tracks and the platform and the character is in the focus and right side of the frame.

There is subtle chaos depicted through the audience in the background standing at the platform and again repeatitive order defines through the placement of the goods at every light post on the platform.

The overall mood of tension and regret created through the body language and the expression of the character.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

95

Fig : 99 The Darjeeling Limited Act : 1/7 Scene : 1/7

The films starts with the Indian context as shown in the frame. The whole feel of local Indian railways is shown perfectly over here as the subject is running behind the train as he was late. As the character was aligned to the right of the frame and shot was taken from the center of the rail tracks, this shows that the character doesn’t cope up to catch the train. Talking about the background, whole platform is empty to get the focus on the character, when the overall color palette has many blues but the character wears Grey for the contrast and defines the formalness of it. It the shot the order between the goods lying on the platform, the character is running in between and the railway track is shown very subtly. In the frame the Second character was introduced by catching the train and seeing towards his father. The whole subject is standing in the front fully focused in the frame. In the background the rawness of the train named “Darjeeling Limited” is written in Hindi.

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96

Placement of every main character in the frame.

Space making elements in background & foreground

Fig : 100 The Darjeeling Limited Act : 1/7 Scene : 1/7

The Second brother was introduced sitting with a head down in the compartment of the train. It was clearly seen that the frame has all the luggage lying around but its in a particular order that shows the chaos in the mind of the character. Each of the element in the frame fits very perfectly in the place. There is the cluster of bags all over the frame and the character is sitting in the left of the frame. The color contrast between the background and the objects lying in between is complimenting as the character wears Grey in front of the background with repetitive pattern all over the compartment. The shot is taken such as the axis is also maintaining through the platform in the middle and divides the space into two parts.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

97

Fig : 101 The Darjeeling Limited Act : 1/7 Scene : 1/7

In this frame the third and elder brother of all was introduced through very close frame, with the same language followed in the background. Symmetry is very evident in here the frame is divided into two and maintain the center axis through the character.

Underlaying grid with symmetry and axis

98

Placement of every main character in the frame.

Space making elements in background & foreground

Fig : 102 The Darjeeling Limited Act : 1/7 Scene : 1/7

When the scene was happen to shot in the dining space of the train “Darjeeling Limited�, It is represents the old times of India. The dining space has some old and very intricately hanged on the upper edges of the window, they are giving the sense of realness to the space. As the frame is set on the wide range, there is an order which divides the compartment into two part which defines one axis throughout the compartment. The arrangement of the seats is 2:1 and one alley which divides them for the moving around. There is soothing atmosphere created through the lamps hanging through out the space. It creates some sense of space and time. There is efficient balance between the overall color and the character sitting in the space.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

99

ACT - 2 / SCENE - 2 Francis blames his wounds and

takes

medicines

through the film. But the other siblings soon get tired of his bossy and tyrannical nature. Jack tell Peter his plan to meet his ex in Italy.

It is seen that his partner, Alice,

is

seven

months

pregnant, and he becomes restless because of it. Peter also keeps a number of their father’s things likes his bags, keys, shades, etc., which irritates Francis.

Jack is disturbed about his ex. The other brothers want him to move on, since neither of them liked her, and they want Jack to move forward. Francis likes to micromanage and has planned the journey excessively.

His

friend

Brendan played by Wally Wolodarsky is staying in another compartment of the train and prints out timelines and agendas for the brothers. Meanwhile, Jack meets a delightful attendant by the name of Rita, Stewdess

100

Fig : 103 The Darjeeling Limited Act : 2/7 Scene : 2/7

The frame sets in one symmetrical shot. It shows clearly that the character is engage in taking with someone at the other side from behind the door. Behind the character, color of the background changed so it was shown as the outside zone of the train.

Here the frame is again divide into two part from the straight axis through the character. The same color palette in the room is also followed in the alley. Overall feel of the space is in disguise as the character is waiting for someone to come.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

101

Fig : 104 The Darjeeling Limited Act : 2/7 Scene : 2/7

This is the other side of the previous frame, looking towards the other end of the boogie. The whole shot was taken from the center of the alley with the same color palette continuing through out the corridor. In this frame the subject is walking from the center of the corridor, the repetitive elements is creating certain language and context that represent India. The design of the train from inside is very simple but its creates sense of time and space through every textures and finishes used is certain way. Every corner of the space is designed with the very minimal materials and that particular style is repeated in ever compartment in the train.

Underlaying grid with symmetry and axis

102

Placement of every main character in the frame.

Space making elements in background & foreground

Fig : 105 The Darjeeling Limited Act : 2/7 Scene : 2/7

In the scene three of the brothers were captured together with different pose according to the situation. All three of them is focused and captured very closely as the background of the frame is blurred, but can easily figured out that the compartment is divided into two parts and the same use of textures and finished is used inside. The difference between the corridor and the rooms are that they continue the same language but the finishes were swapped inside from bottom to top. All the three character is in order while every character has chaos the way they are placed with different postures.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

103

Fig : 106 The Darjeeling Limited Act : 2/7 Scene : 2/7

This shot was taken from the train looking towards the telephone booth at the platform. The play of colors in the frame is very starkly displayed. As the telephone booth has the shades of yellow in the frame and also the character wears yellow robe for complimenting the color in the background. The whole booth is in the focused as the rest of the facade is in the low light and only the booth is lit from inside, that’s grab the attention of the audience at the first look.

Underlaying grid with symmetry and axis

104

Placement of every main character in the frame.

Space making elements in background & foreground

ACT - 3 / SCENE - 3 Their first stop is a sanctuary, where the brothers alight. They first go shopping, where Jack buys a nerve gas firearm and Peter purchases a snake in a box. In the sanctuary, Peter gets irritated with Francis and leaves.

Jack then tells Francis about Peter’s unborn child. While back on the train, the three brothers finally have an honest talk. vPeter never wanted a child and did not anticipate that his marriage would last because of his low confidence. They then continue with their journey further.

105

Fig : 107 The Darjeeling Limited Act : 3/7 Scene : 3/7

Now this scene was taken place in one of the temple in Jodhpur, Rajasthan, India. The main character who is introducing the sacred place to his brothers is in the main focus and the rest of the audience standing and worshiping around the temple is in the background. In here the background plays very important role as the whole spiritual feeling is distinctively coming out through the flashing colors.

This shot is captured in symmetry with making the character in the front side of the frame and the axis is created through the three bells is the background. In this frame sense of depthness is coming out well through multiple columns in the background and Anderson wisely shot this frame from the middle of the shrine cutting through the columns.

Underlaying grid with symmetry and axis

106

Placement of every main character in the frame.

Space making elements in background & foreground

Fig : 108 The Darjeeling Limited Act : 3/7 Scene : 3/7

This shot is taken from the same temple between the columns this frame has particular character in the background, the feel of context and the space is seen evidently in the frame. The photo frames hanged in the background depicts the time and the amount of light coming subtly on the face of the character that makes the character in the focus of the frame.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

107

Fig : 109 The Darjeeling Limitedl Act : 3/7 Scene : 3/7

This frame shot from the outside of the temple and clearly shown the local shops in the surroundings. All the three characters are in focus and subtly their color palette merges with the background. The play of background and foreground is very evidently shown through the placement of the characters and garlands they wore in their neck, is also contrasting the whole composition.

Underlaying grid with symmetry and axis

108

Placement of every main character in the frame.

Space making elements in background & foreground

Fig : 110 The Darjeeling Limited Act : 3/7 Scene : 3/7

This frame is shot very closely with the focus of all of the three characters. This shot is taken from inside of the auto-rickshaw, when all three of them are returning to the train station. In here Anderson shown different emotions on all the three characters as he used very bright background of the auto-rickshaw.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

109

ACT - 4 / SCENE - 4 Chaos reigns, when they discover that Peter’s cobra has escaped the container. Unable to find it in the compartment, they ask the lead steward (Walis Ahluwalia) to find it in the lobby.

The snake is finally caught and the brother are barred from leaving their compartment for the rest of the journey.

Cooped up in the compartment, the tension between the brothers starts to rise. Peter wnds up throwing a belt at Francis after he scolds Peter

for

keeping

their

father’s

possessions. A fight breaks out and Jack ends it by spraying tear gas.

This leads the head steward to throw them off the train at the next station.

110

Fig : 111 The Darjeeling Limited Act : 4/7 Scene : 4/7

The story takes another turn when one of the brother brings cobra snake into the compartment and after few hours the snake found missing. As the steward finds out that snake, he warned the siblings for the last time. This shot was taken from the inside of the compartment, where the scene is divided into two part through the characters. The whole tensed scenario was created through the emotions of each characters. The frame focuses the characters in here and rest of the surroundings remains in the background.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

111

Fig : 112 The Darjeeling Limited Act : 4/7 Scene : 4/7

In this frame all the three sibling is placed in the middle of the frame as they are talking with each other regarding the itinerary. The whole scene shot from the center of the compartment and the rest of the elements, luggages is fixed in corners of the compartment. Figure remains in the focused and all other elements segregate towards the side of the frame. As in here every little things has motif and repetitive pattern on it except than the walls of the compartment.

Underlaying grid with symmetry and axis

112

Placement of every main character in the frame.

Space making elements in background & foreground

Fig : 113 The Darjeeling Limited Act : 4/7 Scene : 4/7

In this frame the character is in anger seeing that his siblings are fighting on the floor.

This create very chaotic situation and he came out of his room, As the frame is taken from above the eye level. In the background there is the frame of J.L Nehru which is the central axis of the frame and the walls has the same intricate pattern through out the train.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

113

Fig : 114 The Darjeeling Limited Act : 4/7 Scene : 4/7

This whole frame captures the fight happening between the sibling, in the same compartment. This shot was taken from below the eye level, as all the three characters were fighting down on the floor and all the elements is placed in certain order. As the repetitive pattern is shown down below of the compartment as a background of the frame and the two siblings were fully of the floor as the other one is yelling on them holding the pepper spray in his hand. This scene create a visual balanced in the background and chaos depicted through the expressions of all the character in the foreground.

Underlaying grid with symmetry and axis

114

Placement of every main character in the frame.

Space making elements in background & foreground

Fig : 115 The Darjeeling Limited Act : 4/7 Scene : 4/7

This frame is also shot from the below the eye level as all the characters was shocked by the tragedy happened on the other side of the dining room. Whole scene has very different style of furniture and the pattern that was placed on the table clothes. This shows that there were some gathering happening amongst the passengers. Overall color palette is clearly depicted the traditional richness and language that was going through the India at that time of frame.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

115

ACT - 5 / SCENE - 5

Now off the train, the siblings take their luggage and bags while walking down a mud road along a river. They end up jumping into the river, after seeing three boys crossing the stream,

and

their

raft

capsizing after a swell in the current.

Francis

and

Jack

haul

two brother to safety, but the third child dies. He is swept away by the current and goes over a waterfall, dying. Peter is bloodied and shaken, and with the boy’s body in his arms, is taken to the village.

The

three

brothers

are

given clean clothes and food,

while

they

boys

explain that the Whitmans had saved their lives. The brother are then invited to the boy’s funeral the next day, stopping their plans to leave.

116

Fig : 116 The Darjeeling Limited Act : 5/7 Scene : 5/7

Now that the story was took different turn into the small village in rajashtan. One of the boy was died in the running water of the river and lead the siblings under very sad and confused situation. This scene has all siblings standing in the crowd as other characters were greeting them and standing around three of them. This frame captured the lifestyle of the local who resides in the village of rajasthan. As the colors in the inside of the house is very minimal and overall composition has very toned down color contrast. All the elderly as well as siblings wore white which is complimenting the rawness of the blue color of the walls in the background .

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

117

Fig : 117 The Darjeeling Limited Act : 5/7 Scene : 5/7

In this scene the kindness of the members presents in the house has shown clearly.

The frame focuses on the siblings and two boys sitting aside from them. Again the same color palette is continued in here.

Underlaying grid with symmetry and axis

118

Placement of every main character in the frame.

Space making elements in background & foreground

Fig : 118 The Darjeeling Limited Act : 5/7 Scene : 5/7

This whole scene has shown vernacular architecture of the village in Rajasthan. As the whole composition is set in front of the huts in the village. All the three characters were standing aside and all of their luggages were placed in the background and it creates very evident contrast between the hut and siblings. The balance of order is clearly shown in the frame through the stalking luggages.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

119

Fig : 119 The Darjeeling Limited Act : 5/7 Scene : 5/7

Here again in this frame all the three characters were closely shown in the autorickshaw but the background of the rickshaw is full of garlands as the death ceremony was going in the story. The pastels in the frame used correctly and the juxtaposition between the character and the background depicts overall gist of the situation.

Underlaying grid with symmetry and axis

120

Placement of every main character in the frame.

Space making elements in background & foreground

ACT - 6 / SCENE - 6

A flashback is seen, the day of their father’s funeral. Peter and his wife, Alice, played by Camilla Rutherford, on their way to the funeral stop at the mechanics to see if Peter’s father’s car has been repaired.

They

argue

which

makes them late for the funeral. The three brother’s

estranged

mother then does not attend

the

funeral,

contrary to her promise.

121

Fig : 120 The Darjeeling Limited Act : 6/7 Scene : 6/7

As the previous frame from the last scene shot in the auto-rickshaw, is now converted and reoccurred the same placement of the characters in the same hierarchy by changing the time period. The whole frame is shot from the inside of the car as the story brings the scene in the flashback creating the similar feeling of going to the funeral. All the three siblings were tensed about several things, overall getup was changed but the composition remains same. Anderson cleverly used the tool of changing the background, attire and keeping the same composition showing similar situation with the different time line in the story.

Underlaying grid with symmetry and axis

122

Placement of every main character in the frame.

Space making elements in background & foreground

Fig : 121 The Darjeeling Limited t Act : 6/7 Scene : 6/7

When the scene changes and took place in one of the garage, the frame was composed from inside of the garage showing one car with the character. The frame is set totally from the center taking the stark contrast between the car and the background of the garage. Overall frame is focused onto the car and the character sitting into it but the crudeness of the space is clearly seen in the background of the garage.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

123

Fig : 122 The Darjeeling Limited Act : 6/7 Scene : 6/7

Here the camera captured the scene from inside of the chamber. This frame has distinctive color palette as all the siblings wore black as they were on the way of their dad’s funeral and the colors in the garage is complimenting them.

Underlaying grid with symmetry and axis

124

Placement of every main character in the frame.

Space making elements in background & foreground

Fig : 123 The Darjeeling Limited Act : 6/7 Scene : 6/7

Again the story takes place in the present scenario where all the characters were attending the funeral of the small boy in the village. Here Anderson depicts the cultural tradition of the funeral in India. The whole frame contains all the villages spread over the bank of river and attending the funeral. The composition of the characters is very important in this frame as the father and siblings were placed in front of the frame and the three brothers were standing right behind the and rest of the characters were spread over the space men first and women at the end .

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

125

ACT - 7 / SCENE - 7

The brothers then decide to visit their mother in the Himalayas, where she is a nun. As they arrive at the convent, they are greeted by their mother, Patricia, played by Anjelica Huston, who tells them that a man-eating tiger is on the loose.

Peter and his mother then talk, where she tells him that she did not want to attend the funeral and was needed at the convent, and Peter tells her about his son.

The next day, the brothers discover that their mother has left the convent during the night. They start trusting each other in the process and decide to return home to America.

126

Fig : 124 The Darjeeling Limited Act : 7/7 Scene : 7/7`

The frame is set outside of the Jodhpur Airport. As the scene includes all the characters taking back their luggages from the taxi. In the scene the taxi is in the focus of the frame that is red in color and all the characters were simply complimenting the background. Whole point of showing all the characters in the frame is to depicts deliberate chaos and they are engaged with the taxi.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

127

Fig : 125 The Darjeeling Limited Act : 7/7 Scene : 7/7

This shot is taken form the inside of the Airport. The background contains blue signages contained information and the luggages were complimenting the background.

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128

Placement of every main character in the frame.

Space making elements in background & foreground

Fig : 126 The Darjeeling Limited Act : 7/7 Scene : 7/7

When story changes the plot they had shown old fort which was now converted into the church and resident for orphans. The frame content swap of religion in different style of architecture. The character is standing in the right side of the frame and the whole rawness is depicted through ornamented arches.

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Fig : 127 The Darjeeling Limited Act : 7/7 Scene : 7/7

This frame contains different color palette altogether as the character is in the center of the frame as he is again merges with overall feel of the space and color scheme of the space.

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Fig : 128 The Darjeeling Limited Act : 7/7 Scene : 7/7

As this is the ending scene when their mother got away from that particular orphanage.

In this scene the frame is set in the perfect symmetry and whole color scheme is shown very subtly in the context of the bedroom. Two bed were lying on the equal distance with the same language and the side table that creates the axis from the middle.

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132

133

134

The Royal Tenebaums 2007 Drama/Indie

135

Context The filming of The Royal Tenenbaums took place in manhattan and some shots were taken in famous Waldorf Astoria. The film at the starting introducing with this eccentric trouble group.

With every introduction of the character in detailed, Anderson shows each emotions very meticulously in the eyes of the characters. As in this film, though audience already got baffled by the introduction of Raleigh and Etheline, both has different emotions alltogether. And on the other side Richie’s sad eyes shower beauty, sunshine and meant to be loved obsessively.

The film’s obsessive accumalation of all the introductions of all the emotions together, fully loaded feeling is a very subtle take to show the spiritual mirror of the Tenenbaums own experience. It takes something as clashing as weddings and death to prod them forward.

As in the beginning of the film as Margot’s introduction includes ballet and richie’s playing drums, this setting of the film coveyed the high culture in one place. Later when Adidas tracksuits appeared on Chas and his two sons it connects directly to the pop culture. For example when Chas and Royal were fighting in the closet it conveyed and linked to the 1970’s as all the copies of the board games set in the background.

136

Context Anderson smartly depicts the barrier between the media and reality. For example in the film the old timey landline telephone and an antique cellular phone become the most eyecatching as the only tool to communicate. The alienation between the family members is deicted clearly with some psychological reasons, when Royal was holding a telephone receiver in one hand and at the same time he was talking to his two grandsons across the wire mesh.

At the end movie conclude an intentional distance between the family members and the audience in order to experience certain atmosphere which is disconnected amongst all of them.

The overall color palette and tonality in the film is fairly dreamy, whimsical and surrealistic, which hardly possible in real life. In other parts of the acts Anderson shows his detail with some idiosyncratic props that depicts past period such as vintage computers, typewriters, antique mobile phones and electric toothbrush. As taking the advantage of the fictional society in the film, Anderson fictionalized a cab service which not licensed, because of this kind of absurdity audience may get confused between the time period and the background, which gives greater sense of postmodernism.

137

Narrative A rich couple in New York, Royal and his wife Etheline Tenebaum, played by Gene Hackman and Anjelica Houston, live with their three children. Their children are all incredibly gifted, the oldest son Chas Tenenbaum, a genius in chemistry and finance, their younger son, a tennis prodigy, and their adopted daughter Margot, a recognized playwright. Royal separates from his wife but does not divorce her. He is often brash and insensitive to their needs but loves his family. After his separation he shifted into an expensive hotel, where he stays for twenty-two years.

Cut to the kids as adults, they are weary. Chas, played by Ben Stiller mourns the death of his beloved wife in a plane crash 6 months earlier, and struggles to raise his two sons, Uzi and Ari on his own. Margot Tenenbaum, played by Gwyneth Paltrow, suffers from writer’s block and is married to an older neurologist Raleigh St. Clare, played

by Bill Murray. The youngest, Richie, played by Luke Wilson, is a retired professional tennis player. After retiring mysteriously after an emotional meltdown at a final match, he has been traveling the world on a cruise ship. The mother Etheline works as an archaeologist. Her accountant Henry Sherman proposes to her, but she asks for some time. Pagoda, the family servant, played by Kumar Pallana, tell Royal about this proposal, who decided to win his family back.

Fearing his son’s safety, Chas moves back to his mother’s house. Margot also returns home, escaping her husband, where she spent the majority of time locked in a bathroom, resorting to smoking. She is also involved in an affair with his brother Richie’s best friend Eli Cash, who is a novelist. Excitingly, Richie Tenenbam is in love with his own adopted little sister, which Eli knows.

Royal then broke out of money and is thrown out from his hotel. He decides to win back his family, ashamed to meet them. He tells Etheline that he is suffering from terminal stomach cancer and wants to make compensate with her and his children.

She agrees and accepts his proposal. Chas is wary of his father’s return as he doesn’t trust him. Margot doesn’t care, but Richie Tenebaum is loving and sympathetic. The father comes into the house with a lot of medications and medical equipment, which he took from a worker in the hospital who owed him a favor. During his stay he meets his grandchildren and they become close. He also becomes very jealous of Henry 138

Narrative Sherman which results in an argument. Henry ends up telling the family that Royal Tenebaum is really faking about his illness, after he eats oily food and eats Tic-Tacs from a prescription bottle. Etheline asks Royal to leave, and Royal gets a room at the YMCA with Pagoda. He takes up a job as an elevator operator at the hotel he was evicted from.

In his love for Margot, Richie is devasted when he hears suspicions about her cuckoldry.

They hire a private investigator to disclose her hidden past, a nine-day marriage in Jamaica, chain-smoking, escape from boarding school, a lesbian affair in Paris, and many lovers in New York, including Eli Cash. Her husband is disturbed and Richie even more so. Richie shaves his beard and head, and then cut his wrists. He is saved, but the incident shakes the rest of the family. He returns home and finds Margot in his room under the tent listening to records. She was apologetic that because of her, Richie had so much pain but says that she loves him too.

Royal finally grants his wife a divorce, and on Etheline and Henry’s wedding day, with all the family and guests at the house, Eli suddenly crashes his car while heavily dosed on Mescaline. He also nearly hits Uzi and Ari and kills buckely the dog. Chas runs behind Eli and they both get injured, finally realizing that they really need help to move on with their lives.

With the wedding forgotten in the chaos, Royal buys a Dalmatian to present to Chas, as a replacement for the Beagle. Chas and Royal make up and fix their relationship.

Later, Henry and Etheline are married in court. Royal Tenebaum starts to live with his family, Chas, Azi, and Uri. But he suffers heart attack and dies. His family finally gathers at his funeral and commemorates his role in “saving his family from the wreckage of a sinking battleship�. He is buried under a gravestone bearing the same phrase.

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ACT - 1 / SCENE - 1 A rich couple in New York, Royal and his wife Etheline Tenebaum, played by Gene Hackman and Anjelica Houston, live with their three children. Their children are all incredibly gifted, the oldest son Chas Tenenbaum, a genius in chemistry and finance, their younger son, a tennis prodigy, and their adopted daughter Margot, a recognized playwright.

Royal separates from his wife but does not divorce her. He is often brash and insensitive to their needs but loves his family. After his separation he shifted into an expensive hotel, where he stays for twenty-two years.

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Fig : 129 The Royal Tenenbaums Act : 1/6 Scene : 1/6

In the beginning of the movie this is the introduction scene of all three siblings who are the main characters of the movie. The starting frame is shot from the center of the conference table looking up to the three kids sitting in front of the camera. As looking up to the color palette whole background is in the shades of brown and the characters has hierarchy and sitting in the order, while the middle one is in the center of the frame has two big candle identical candle frame in the background. The whole attention of all the characters is at the other-side of the camera showing that some conversation was happening on the other side of the table. Whole lighting of the space is very subtle and equally focused on all the characters. The figure over here are the three characters sitting and focused in the frame and there is symmetrical background contains two candles placed in between of them.

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Fig : 130 The Royal Tenenbaums Act : 1/6 Scene : 1/6

On the other-side of the previous frame there is another character who is sitting in the center of the table and was talking to the three siblings on the other-side of the table. In here this frame is visually divide into two similar part, its clearly seen that the character is in the focus as the camera took wide shot with the symmetrical composition. The foreground of the frame is the character itself with the huge table and two empty chairs on each sides. As in the background there is the feel of royalness with prominent repetitive pattern on the wall and the same wall has two candle stand hanged and creates symmetry by placed on each sides of the character. This overall color palette in the frame conveys the richness of the mansion.

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Fig : 131 The Royal Tenenbaums Act : 1/6 Scene : 1/6

This particular scene incorporate the siblings sitting at the interview in their house itself regarding their parents. The frame conveys the tensed situation amongst all the three characters interviewed by the reporters surrounding them from all the sides.

The door in the background connected visually and defines the center axis of the frame. The composition set in a way that all the audience in the frame is settled in all the sides but the characters in the center is in the focus. This whole scenario depicts an order in a chaotic environment.

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Fig : 132 The Royal Tenenbaums Act : 1/6 Scene : 1/6

In the Act 1 the brief introduction of all the siblings is shown precisely and they have been articulate every corner of each of their room and workspace. This frame has shown the workspace of the elder brother Chas Tenenbaum, who is pretending to work sincerely on his workstation. This frame has taken symmetrically fine as the workstation of the little Chas is in the center of the frame and it defines the formal environment of the space and there is one big enough storage for mice kept aside in the room for showing the contrast in the formal work space. Overall color palette has mixed feeling as the wall has the royalness of the mansion but the equipments do have the formal look similarly the attire of the character all together.

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Fig : 133 The Royal Tenenbaums Act : 1/6 Scene : 1/6

In this frame they have introduced another sibling , Margot Tenenbaum sitting in the middle of the bed listening some music from the recorder. This whole frame has very ambient lighting and very toned down colors. As the frame is in the symmetry and the telephone kept in the center of the frame shown the middle axis through the character in the center of the frame. There are some murals and hangings in the background that depicts overall sense of the space and it tells everything about character and her likings in daily life.

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Fig : 134 The Royal Tenenbaums Act : 1/6 Scene : 1/6

This frame introduced last sibling with all types of tennis balls lying on the floor everywhere and he Richie Tenenbaum is sitting in the middle of the frame holding tennis racket. The background show all the trophies he won in all the matches and the fire place suggest the axis of the frame with the character in the middle.

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ACT - 2 / SCENE - 2 Cut to the kids as adults, they are weary. Chas, played by Ben Stiller mourns the death of his beloved wife in a plane crash 6 months earlier, and struggles to raise his two sons, Uzi and Ari on his own.

Margot Tenenbaum, played by Gwyneth Paltrow, suffers from writer’s block and is married to an older neurologist Raleigh St. Clare, played by Bill Murray.

The

youngest,

Richie,

played

by Luke Wilson, is a retired professional tennis player. After retiring

mysteriously

after

an

emotional meltdown at a final match, he has been traveling the world on a cruise ship. The mother Etheline works as an archaeologist.

Her accountant Henry Sherman proposes to her, but she asks for some time. Pagoda, the family servant, played by Kumar Pallana, tell Royal about this proposal, who decided to win his family back.

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Fig : 135 The Royal Tenenbaums Act : 2/6 Scene : 2/6

This scene is again introductory of all the character in their present life. Here the female character Margot Tenenbaum sitting in the bathroom and leisurely with all the equipment connected in the bathroom. The other character in the frame which is partially shown through the door is the husband of her, This position conveyed that the relationship between two of them were not going properly. The overall placement of the both the character in on the side of the frame and overall color palette of the space is melodown to the pastels which gives very subtle meaning to the scene.

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Fig : 136 The Royal Tenenbaums Act : 2/6 Scene : 2/6

In the scene the director shown the profession very smartly through the use of the background. Here the background tells every story about the lady and the tall man talking with each other from each corner of the frame. The background has all the books and some hanging photo frames that concludes that the place is an office but the most evident one is the skeleton that defines the profession of the archaeologist.

The frame again shot from the center but there aren’t any characters who guides to the axis of the space. The overall background is visually very busy in the sense of the composition but the contrast between the two characters has coming out well because of the contrasting color of their attire in the frame.

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Fig : 137 The Royal Tenenbaums Act : 2/6 Scene : 2/6

This shot has introduced the old man Royal Tenenbaum with the doctor. This scene has shot in the room of the hospital, as such the color palette of overall place is very subtle and equipments in the background creates the same atmosphere. The subject is in the middle of the frame as the other character is standing aside holding his hand and check out his health. `The expressions of both the characters is evident that the situation is little tensed as both has very strong eye contact with each other.

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Fig : 138 The Royal Tenenbaums Act : 2/6 Scene : 2/6

In This frame the whole bathroom is taken widely as the both the character Mom and Daughter is doing conversation with each other. The only one thing that contrasting the whole frame is the curtain in the background next to the bath tub, as the whole space has only one tone of color and the stark yellow color of the curtain with the repetitive pattern on it stands out well in the composition. Anderson perfectly chose the color palette for the scene and it also defines the hierarchy in very subtle way.

The expressions of both of them are very minimal as the other person is not agreed as she didn’t continue the eye contact with her mother.

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Fig : 139 The Royal Tenenbaums Act : 2/6 Scene : 2/6

This frame has very different type of color scheme. The frame contents many space making elements that will define certain typology of lifestyle in general. The frame has very strong background as it only contains one cross which totally defined the religion of the family. The lady is shown behind the partition screen facing towards the wall and working . This convey the silent and secluded atmosphere around the house. It continues the different language in all the furniture from the Royal mansion.

This overall color scheme soothes visually as well as the composition of the cloth hanger and the furniture lying near the camera.

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ACT - 3 / SCENE - 3 Fearing his son’s safety, Chas moves back to

his mother’s

house. Margot also returns home, escaping her husband, where she spent the majority of time locked in a bathroom, resorting to smoking.

She is also involved in an affair with his brother Richie’s best friend Eli Cash, who is a novelist. Excitingly, Richie Tenenbam is in love with his own adopted little sister, which Eli knows.

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Fig : 140 The Royal Tenenbaums Act : 3/6 Scene : 3/6

This scene is shot in front of the docks name the royal arctic lines . This scene introduced the other sibling sitting in the front of the exit point of the docks. As the overall color scheme is in the pastel again but the sign-age and the banner of the docks has complimenting shade in it. The overall composition has all the audiences coming out of the docks and the main character is sitting right in front of the exit gate.

This whole scenario creates very evident juxtaposition between the character and the dispersed audiences wearing the similar kind of color.

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Fig : 141 The Royal Tenenbaums Act : 3/6 Scene : 3/6

This frame has the sofa which is the main furniture in focus as it is wrapped with the different motif which is giving the compliment to the wall in the background.

The sense of the importance is suggest by the expression of the characters which is blankly looking towards the camera and the subtle use of both the lamps on the side of the frame created very calm mood in the space. This scene has incorporated both the siblings in it sitting with each other in the center of the frame. This frame again has the similar royalness because of its color scheme as both of the character is in the focus and its evident through their eye contact with the other person sitting on the opposite side.

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Fig : 142 The Royal Tenenbaums Act : 3/6 Scene : 3/6

This frame has very clear focused subject. The car is in the focused as the character is sitting in the car. She has very confused expression seeing towards the object at the other-side of the camera. The over color of the car is going well with the rawness of the background as there is only one man sitting in the background, this is very subtle juxtaposition of the figure in the background.

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Fig : 143 The Royal Tenenbaums Act : 3/6 Scene : 3/6

This frame has two character that played as the children of Chas. They not only dressed like him but also adopt the same kind of the hairstyle. The frame is in the focus of that two characters sitting facing the camera. Overall style of the interiors in the room is in very beige color as the color of those characters is starkly complimenting to the color scheme of the space. There is very stark difference in the color of the room in the background and the work place shown in the foreground. There some equipment placed very closed to the camera is define the time line of the movie itself and in the background the placement of all the encyclopedias in the shelfs also define that the place is converted to the office. As in the frame there is another character in less focus behind in the background has add some more liveliness in the composition.

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Fig : 144 The Royal Tenenbaums Act : 3/6 Scene : 3/6

This shot has taken place in the reception lobby of the hotel. The change of the Interiors drastically as the frame has very dark color scheme and has very ornamented flooring. The subject is in the right side of the frame, he is complimenting the dark finishes in the Interiors of the hotel. Here floor is giving strong inviting feeling because of the grand decorative pattern against the plane dark walls of the hotel.

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ACT - 4 / SCENE - 4 Royal then broke out of money and is thrown out from his hotel.

He decides to win back his family, ashamed to meet them. He tells Etheline that he is suffering from terminal stomach cancer and wants to make compensate with her and his children. She agrees and accepts his proposal. Chas is wary of his father’s return as he doesn’t trust him. Margot doesn’t care, but Richie Tenebaum is loving and sympathetic.

The father comes into the house with a lot of medications and medical equipment, which he took from a worker in the hospital who owed him a favor. During his stay he meets his grandchildren and they become close. He also becomes very jealous of Henry Sherman which results in an argument.

Henry ends up telling the family that Royal Tenebaum is really faking about his illness, after he eats oily food and eats Tic-Tacs from a prescription bottle. Etheline asks Royal to leave, and Royal gets a room at the YMCA with Pagoda.

He takes up a job as an elevator operator at the hotel he was evicted from.

159

Fig : 145 The Royal Tenenbaums Act : 4/6 Scene : 4/6

This scene is taken at the table with the ongoing conversation between all the family members. The frame focuses on the four characters sitting facing each other. As in the background all the curtains are closed and all the candle is lit for giving the soothing atmosphere to the dining area. In the foreground all the characters has wore different style of attire though they are complimenting with each other. As the overall setup of the dining table and the half chandelier gives the feel of delicacy to the composition.

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Fig : 146 The Royal Tenenbaums Act : 4/6 Scene : 4/6

As this is an interesting frame again shot in the same work station of the Chas.

The main attention in the frame has grabbed again by the two children wearing red dress which is subtly going with overall language of the space. Their are many workers spread across the frame and busy doing their respective work but the composition is set in such a way those two character is closely highlighting in the foreground neglecting all the activities happening in the background. Talking of the background all the furniture is laced very compactly and is in the tints of pastels and only the frame of the window has the real finish of the wood rest of the walls is painted in the pastels which blends well in the background.

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Fig : 147 The Royal Tenenbaums Act : 4/6 Scene : 4/6

In the frame all the three subjects are captured moving jumping into the pool.

The frame is set from the edge of the pool for capturing the movement of all the characters together. The detail of placing all the furniture is very precisely done for jumping over the height. There is only one dog in the focus in the frame that’s juxtapose whole composition.

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Fig : 148 The Royal Tenenbaums Act : 4/6 Scene : 4/6

This scene is totally focused on the one character standing with the coat on his hand.

As the scene is captured in the bedroom of Richie Tenenbaum, four characters has glued their all the attention on the old man Royal Tenenbaum. As the in the background there are some comic book graphic drawn on the wall of the bedroom.

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Fig : 149 The Royal Tenenbaums Act : 4/6 Scene : 4/6

In the frame both of the characters were standing apart as a composition.

The whole textures and the finish of the wood is giving feel Victorian style, and also the ornamented balustrade is giving the sense of the same royalness altogether.

There are some hanging paintings done by Richie Tenenbaum is the charm of overall frame. The only thing is linked in the frame is the expressions of both of the character conveying the feeling through their eye contacts with each other.

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ACT - 5 / SCENE - 5 In his love for Margot, Richie is devasted when he hears suspicions about her cuckoldry.They hire a private investigator to disclose her hidden past, a nine-day marriage

in

Jamaica,

chain-smoking,

escape from boarding school, a lesbian affair in Paris, and many lovers in New York, including Eli Cash.

Her husband is disturbed and Richie even more so. Richie shaves his beard and head, and then cut his wrists. He is saved, but the incident shakes the rest of the family. He returns home and finds Margot in his room under the tent listening to records. She was apologetic that because of her, Richie had so much pain but says that she loves him too.

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Fig : 150 The Royal Tenenbaums Act : 5/6 Scene : 5/6

In this frame all the focus is on the middle character as all of them strongly glued to the man on the other side. The overall composition define the office environment and the mood of the frame is very serious through the expression of all the three characters focus towards the camera. The color coding of the attire is done hierarchy wise from the darker shade to the lighter shade.

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Fig : 151 The Royal Tenenbaums Act : 5/6 Scene : 5/6

This is the frame in the same office shown in the previous frame. The rawness of the background convey that the office is pretty old. The over all set up of the workspace is also give the sense of time period in the movie itself. As in the frame there is no yellow light or any ambient light is used, all the light is came from the natural light and some of them is coming through the table lamp.

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Fig : 152 The Royal Tenenbaums Act : 5/6 Scene : 5/6

The scene is taken in the hospital and it is too evident by the red cross show in the background. The overall color palette of the hospital is cool down as they’ve used only tint of pastels in the background and rest of the equipments of the hospital has chrome finish because of that the whole place is visually looking light. The foreground has the three characters sitting in the center of the frame. Again the children is doing their work and Chas has very tensed expression on his face. The red color is really contrasting the background and overall blends with the composition

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Fig : 153 The Royal Tenenbaums Act : 5/6 Scene : 5/6

The whole scenario is captured during the night. The frame is captured from the outside of the hospital as the two characters were entering into the hospital. The whole facade of the hospital is lit from the outside. This shot is in symmetry and the middle axis is maintained through the character going inside of the hospital. The strong sense of symmetry is shown through the windows and the doors of the hospital from the outside. Only two main characters is in the middle of the frame, rest of them are sitting aside away from the focused area.

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Fig : 154 The Royal Tenenbaums Act : 5/6 Scene : 5/6

This particular shot is taken from the above, inside of the tent placed in the room at the royal mansion. This mainly include the vinyl record and the glimpse of the hand of Margot Tenenbaum operating the Player. This shot conveyed the feeling of being in nostalgia from these hanging photographs of Richie Tenenbaum and some of the toys cars placed on the Vinyl Player.

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Fig : 155 The Royal Tenenbaums Act : 5/6 Scene : 5/6

The sudden change in the Interior depicts the change of the space in the frame. This shot has taken in the restaurant facing the two characters and placing the waiter in the middle of them defines the axis of the space. The small chamber has ornamented carvings and curved screen barrier that enclosed the space for the customers. As the color and overall mood lighting has changed and is now focus overall space rather than any of the character. All other customers in the background were grabbing the less attention as the waiter standing in the front of the camera giving enough contrast with his attire to the place.

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ACT - 6 / SCENE - 6 Royal finally grants his wife a divorce, and on Etheline and Henry’s wedding day, with all the family and guests at the house, Eli suddenly crashes his car while heavily dosed on Mescaline. He also nearly hits Uzi and Ari and kills buckely the dog. Chas runs behind Eli and they both get injured, finally realizing that they really need help to move on with their lives.

With the wedding forgotten in the chaos, Royal buys a Dalmatian to present to Chas, as a replacement for the Beagle. Chas and Royal make up and fix their relationship. Later, Henry and Etheline are married in court. Royal Tenebaum starts to live with his family, Chas, Azi, and Uri. But he suffers heart attack and dies. His family finally gathers at his funeral and commemorates his role in “saving his family from the wreckage of a sinking battleship”. He is buried under a gravestone bearing the same phrase.

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Fig : 156 The Royal Tenenbaums Act : 6/6 Scene : 6/6

The last act has contain the marriage ceremony and everybody has accumulated in the Royal mansion. In this frame the whole sense of inauguration is happening in the house. As the frame has all the music band members who came for gracing the marriage. All the characters were in their mood of playing their instrument very intricately. As in the background the amount of the light is coming through the window is very warm and minimal to create certain mood for the music and all the characters in the foreground has wore black and its strongly contrasting the overall feel of the house.

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Fig : 157 The Royal Tenenbaums Act : 6/6 Scene : 6/6

This frame has shown the bedroom of the Margot Tenenbaum (sitting in the niche).

As the wall has repetitive motif of Zebras running and jumping. The whole sense of dress coding for the marriage ceremony has seen in the frame. The color of the wall in the room is complementing the dress wear by the two characters sitting in the frame.

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Fig : 158 The Royal Tenenbaums Act : 6/6 Scene : 6/6

The frame contains many mixed feelings and many activities going on the front yard of the Royal mansion. As the accident had happened out of the blue, the female character is standing and seeing the Royal Tenenbaums in disguise and other two character in the stairs has talking to each other. The whole scenario has dispersed chaos shown in several ways by placing different characters in the frame. As the front facade of the mansion is decorated full fledge and the expressions are giving the contrast in the frame.

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Fig : 159 The Royal Tenenbaums Act : 6/6 Scene : 6/6

This is the Opera house where the first play has been performed and published written by Margot Tenenbaum. The whole audience has their eyes glued towards the stage and the Tenenbaums family members were subtly camouflaged into the other audience but Anderson kept them with an order and their distinguished through their expressions. All the characters were sitting in a hierarchy First five characters, then the other three characters were placed in between of them and then the two newly married characters were placed in the third row. And at the last the background walls has up lightened through the showers of light thrown to the walls though it gave the character to the space.

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Placement of every main character in the frame.

Space making elements in background & foreground

Fig : 160 The Royal Tenenbaums Act : 6/6 Scene : 6/6

This is the End scene where it conveyed the message that the elder member of the Tenebaum Family had died. The Royal Tenenbaum has died and the whole scenario brought up to the graveyard. This whole frame also conveyed looking up to these many graves, those barren trees and gloomy weather, that the movie came to an end.

This frame is set in the particular weather condition so it concluded the end of the movie with the death of the Royal Tenenbaum. The frame is shot symmetrical as the three cars are place in similar distance, that shown an order also with those graves and visual chaos in the background has also shown from the foliage of the trees.

Underlaying grid with symmetry and axis

Placement of every main character in the frame.

Space making elements in background & foreground

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The

Budapest

Cafe

Fig : 161 Wall with the Glowing Signage

Biasol, Melbourne based studio, combined various marble surfaces including geometric facades and elevations, pastel hues as a style of Wes Anderson’s movie The Grand Budapest Hotel, In this Cafe situated in Chengdu, China.

This Cafe The Grand Budapest is located in the chengdu, China. As the owner of the cafe intetionally chose a firm design studio base onAustralia to recreate the similar environment that would definitely attracts more International Audience in the Cafe.

Fig : 162 Wall with Arches and sitting

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Fig : 163 View from the front side

The head Architect of the design studio “Biasol”, Jean Pierre Biasol, figured out the “Nostalgic & Vivid color scheme” used in the films of an American Filmmaker, Wes Anderson.

To achieve the whole look & feel of the movie & as described the feminine factor, as the designers deliberately chose the maetrials which resulted in a similar palette of , light grey marble surfaces and the floor plains of speckled multicolored terrazzo, and some pastels shades of green and pinks for furniture and Fig : 164 Countertop and the Back wall

the walls.

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“Their design draws on the filmmaker, Wes Anderson’s meticulous, magical and memorable worlds that creates a very inviting destition with whimsical visual character and an international taste”. “Wes Anderson tends towords very peculiar one point perspective and looking down from above,

Fig : 165 Glimmering terrazo back wall inside washroom

Fig : 166 Countertop and the Back wall Top view

focused onto the edges and details with symmetrical view; as his frames tells stories with the procenium arches”.

For creating the symmetry as shown in the movie, they mimic series of arches to set the frame for recessed seating areas and shelving units. The cornered seating area covered with terazzo, which has pink ball pit, with neon white singnage and an original bubble chair by Ero Aarnnio. On otherside of the cafe there is another staircase with Zig Zag bannister leads all the vivitors to the mezzanine, with the view of the cafe from above.

“Like Anderson’s films, they created evocative and imaginative spaces”. Their Design for the Cafe Budapest has indulgent and released atmosphere, very elegant and whimsical aesthetic , with a hospitality towards the visitors’ experience infused into Melbourne’s cafe culture.

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This dissertation is set out to connect Wes Anderson’s interiors with the space composition, that extracts Spatial tools and linked with various emotional variables throughout the films.This research looks upon the color and emotion that affects the Interiors of the cinematic world of Anderson. At the end of the analysis of the three selected films, this reserach derives five patterns that emerge as an examples of Anderson’s unique interior set design principles. The atterns extracted from the research are as following : 1. Emotion = Love, Lust, Sadness, Anxiety Color = R E D The particular scene is created through the use of stark red color in the background as the whole composition of the characters is shown in the hierarchy. In the Royal Tenenbaums, the red vintage automobile is the only one thing that connects Chas Tenenbaum and his sons Ari and Uzi. Chas,wears a red Adidas tracksuit from his youth till adulthood and exact same suit. Red seems to be the most longing color, depicts the fatherhood attached with deep rooted issues. For Anderson, red is a color of security and power, it also recalls a sense of youthful enthusiasm. Red in the Darjeeling Limited strikes most vibrantly in the Jimmy Whitman’s Car, which he cared the most.

2. Emotion = Sophisticated, Richness Color = P I N K In the Grand Budapest hotel, Mosieur Gustave H. is shown as a character of a refined elegance, who was running the most known hotel in the republic of Zubrowka. The whole feeling of richness amongst the interiors of the hotel is shown through the pink toned wall surfaces in every background of the Gustave H. This color in the background brings about a feeling of optimism and irony.

3. Emotion = Soothness, Happiness, Sacred Color = Y E L L O W In the films of Anderson he uses Yellow oftenly to depicts certain kind of optimism, which seen evidently in the uniforms of the troops in this film. Yellow color is also symbolized as a peace in many films of Anderson. For example, when foxes were happy in the Mr. Fantastic Fox, the sky is shown yellow. As similar in the Life Aquatic, the submarine of the steve Zissou iss also yellow, that depicts the only happiness in his life. Color can establish an emotion with the environment on the screen.

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4. Emotion = Gloominess, Cunningness, Evil Color = B R O W N Anderson gives audiences a glance of a seemingly perfect world with “doll-house dioramas” that juxtaposes the subdued tone of his content. He tends to permeate dark material with sense of humour. In the Grand Budapest Hotel, he used very mellow down shades of brown to show the gloominess of the space, after seeing the striking white coffin of the Madam D, whole feeling of sorrowfulness was conveyed throughout the space with very subtle ambient lighting. This notion directly correspond to the reasons behind the used of the darker screenplays which are treated brilliantly with distinguished color palettes and sense of humour into a muted tone of colors.

5. Emotion = Boyish, Grim, Dilemma Color = Pastels and Light hues In the Royal Tenenbaums, it creates fairy tale - like exsitence due to his treatment of a serious situation with humour and thats what often does create contrast in fierce situations. As example, in the hospital room which is very bright and bustling all the family members seeing Richie, as he tries to commit suicide. In this darkeness Anderson shower light on a sort of childish optimism. As in the Darjeeling Limited when the boy dies in an accident in the river, his funeral sets in the abmient with glimmering golden light, people wearing white attires and a little vibrant town in the background. This style of using bright deep, rich colors for creating more focus onto the main protagonist of his film, The Royal tenenbaums.

“It’s a world that Wes Anderson creates . . . slightly artificial, but within that world the emotion and feelings were very real”

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WES ANDERSON and his Crafts of Interiors Increasingly, in Anderson’s films, it is the composition within rather than between the frame that is supreme. Complex editing takes second place to elaborate mise-enscène, careful juxtaposition, often based around a symmetrical notion of balance within an individual shot, and occasional designed sets. This can be considered in the specific light of his use of paintings, the style of his commercials, which constitute a condensed version of his aesthetic, and his stylistic relation to early silent film.

Anderson frames and composes his shots so carefully almost any still frame can be used as a promotional poster. In general, Anderson seems to work up to a cut, at which point we have a defining image of that scene or sequence. There might be very rare examples of an effect like a crash zoom, a sudden and rapid zoom towards a subject, such as in Royal Tenebaums, Richie and Eli during the rifle game, which creates the sense of an amateurish home movie, or when Royal is at the playground fence, trying to befriend the twins. However, transition devices, which draw attention to themselves, such as dissolves, are something Anderson never uses. Therefore, the mise-en-scène, shot composition, and the proxemics of performers are very important, and stylistically there are longer-than-average takes, often with little or no camera movement, achieved with frequent use of a rostrum camera and wide-angle anamorphic lenses that capture a greater amount of on-screen detail.

“MUSIC” Anderson’s use of slow motion creates a series of memorable cinematic moments, when time is arrested, or at least slowed, and we are invited to contemplate the emotional lives of the characters at a calmer pace, his films express this guilty pleasure by default (including virtually whole songs in the tent scene in Tenenbaums).

It is tempting to see such moments as mini-epiphanies, but Anderson’s use of music varies in its effectiveness and over time can seem a progressively blunt creative tool.

“THE CINEMA OF SATURATION” Believe that any Anderson’s film to be superior because we are “uncertain whether to smile or to squint so as to make out what else an image might be hiding.” There is still something in the enclosed but minutely organized interiors of the Tenenbaum house, the Belafonte, and the train in Darjeeling . Anderson’s films are packed with detail.

Roald Dahl’s house for Fantastic Mr. Fox, there was a dollhouse feeling to the fictional worlds in his films.

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The five fundamental aspects extracted from the following dissertation.

1. Mise-en-Scene 2. Wes Anderson and Mise -en-Scene 3. Composition - Visual storytelling of every frame 4. Set Design 5. Lighting - Mood maker for half of the scenes 6. Acting - characters placement in the composition 1. Mise-en-Scene is the arrangement of the scenery and the stage properties in the movie. In cinema, everything is refer in front of the camera. This all includes the overall space composition, lighting, set design and actors. It all comes together through only one aspect Mise-en-Scene and acts of bringing all of them together. The main important aspect of Mise-en-Scene, is to elevates the movie from just a series of photographs to an art form at another dimension. This concludes that it is the thing that pulls viewers into particular emotion and atmosphere and dosen’t let go.

2. Wes Anderson has consistency for builing the top notch world for his films, from Bottle Rocket to the recent on Isle of Dogs. This is mainly because of Anderson’s very unique language and method of visual storytelling. We can take his unmistakable style in all of his works with every precise detail, absurd characters, space composition and vivid use of color. Taking the examples of the most specific movie from Stanley Kubrick or as light as a Rom-Com is does exist in the world of Wes Anderson.

3. Space Composition in the films of Wes Anderson is the most obvious part of his methodology and it is the best thing which tie everything in the frame. Each of the characters has distinguishing connection with the objects in the every frame of his movies it takes the mind of the audience to another level of imagination just because of the distinctive style of placing characters in that particular shot. He has very good skill to bring balance between what to show and what he choose not to show in the movies.

To make sure of everything is in the frame it has visually engaging no matter what the genre because film is a visual medium and composition of the space walks hand in hand with the Cinematography which includes movement of the camera, lens types but also identifying all the options in term of shots and angles.

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All Anderson’s movies have its own language because he always in control of what to incorporated into the frame and how to shoot. The main key factor of Anderson’s film is bringing Symmetry in all the Composition.

4. Set Design - Mainly the set is used physically in the movie for creating a specific mood or time period. That is the wardrobe of the film, Anderson uses the set design to generate his world to justify with the scene. In keeping with the dollhouse metaphor, Anderson’s set design has his whimsical style as well as depicts how detailed his all characters are. Every shot of the workspace in every movie is covered with perfectly staged objects. Every shot of the Bedroom is also acts as a physical representation of the person who owns it. For example, In The Royal Tenenbaums does thisvery well, As they introduced to the three children, we don’t need to go through the narration because it conveys what these kids are all about.

5. Lighting - The only aspects that affects the mood of the scene id the intensity and depth of the field, as the key factor to mark in the mind is that lighting is emotional.

It depicts every emotion of the character whether its in fear, confusion and a sense of mysetry. As in The Grand Budapest Hotel the runtime of the movie is vibrant and fun for most the runtime so its lighting was soft and warm. There is no doubt that thrillers and horror genre employ harsh lighting into their cinematography. Anderson intelligently adjust the lighting of the plot to match the intensity for several scenes of violence all together.

6. Acting - Placement of actors in each scene is the main thing to be done by the director in terms of Mise en Scene. This whole process can also called blocking. It incorporates the position of the characters in particular way with particular pose in the scene. Anderson has the ability to put the character complementing the symmetry of the frame, arrange very meticulously as a group. Actors, whether striking a quirky pose or talking to each other, Anderson captures all their expressions straight into the camera. Actors sitting versus standing brings big difference in their level of confidence, Actor may appeared weak because of in the less focus or smaller in the view. There are too many possibilities to look upon.

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3. Crafti, S. (2009). Houses of steel: Living Steels international architecture competitions. Victoria, Australia: Images Pub. Group Pty. 4. Parkinson, D. (2012). 100 ideas that changed film. London: Laurence King.

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3. Poland, J. L. (august,2015). Lights, Camera, Emotion! Cleveland State University.

4. Kunze, P. C. (Ed.). (2014). The Films of Wes Anderson. New York, US: Palgrave macmillian.

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Websites : 1. How To Get A Movie-Inspired Interior. (2017, May 30). Retrieved from https://www.filminquiry.com/how-to-get-movie-inspired-interior/ 2. Colour and mood in Wes Anderson’s films. (2017, October 18). Retrieved from https://www.tcs.cam.ac.uk/colour-and-mood-in-wes-anderson-s-films/ 3. About Guest Writer Overthinking It occasionally publishes guest articles from our partners in the OTI-verse. (Open pitches for guest articles are currently closed.).

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(2012, September 17). A Unified Theory of Wes Anderson Movies. Retrieved from https://www.overthinkingit.com/2012/09/14/wes-anderson-movies/ 4. Crump, A. (2014, March 14). A Beginner’s Guide to Wes Anderson Movies.

Retrieved from https://screenrant.com/wes-anderson-movie-guide/ 5. 12 Fantastic Elements of Wes Anderson Films. (2018, October 08). Retrieved from https://www.clipd.com/stories/4897/12-fantastic-elements-of-wes-anderson-films/ 6. Chin, M. (2018, March 26). Wes Anderson’s Directorial Stylization Is Broken Down in New Video Analysis. Retrieved from https://hypebeast.com/2018/3/wesandersons-directorial-stylization-is-broken-down-in-new-video-analysis 7. Frames of Reference: The Grand Budapest Hotel and the World of Wes Anderson. (n.d.). Retrieved from http://www.theperipherymag.com/the-grand-budapest-hotel/ 8. 767600701. (n.d.). 7 Deep Thoughts About ‘The Grand Budapest Hotel’. Retrieved from http://www.zimbio.com/Beyond the Box Office/articles/aJkOolL4DY6/7 Deep Thoughts Grand Budapest Hotel 9. Interiors examine the relationship between cinema and architecture. (n.d.).

Retrieved from https://www.domusweb.it/en/architecture/2018/03/16/interiors-thedigital-project-which-examines-the-relationship-between-cinema-and-architecture. html 10. Plugged In. (n.d.). Retrieved from https://www.pluggedin.com/movie-reviews/ grand-budapest-hotel/ 11. 6 Wes Anderson-inspired cafés you can visit right now. (2018, September 14).

Retrieved from https://thespaces.com/wes-anderson-cafes/ 12. News, T. (2018, June 04). Wes Anderson has designed a cafe in Milan, and it is everything you expect. Retrieved from https://www.lonelyplanet.com/ news/2018/06/04/wes-anderson-bar-luce-milan/

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13. The Grand Budapest Hotel. (2014, February 26). Retrieved from https://www. imdb.com/title/tt2278388/ 14. Shmoop Editorial Team. (2008, November 11). The Grand Budapest Hotel: Setting. Retrieved from https://www.shmoop.com/grand-budapest-hotel/setting.html 15. Context in The Grand Budapest Hotel. (n.d.). Retrieved from http://rahuldewan. weebly.com/blog/context-in-the-grand-budapest-hotel 16. Bradshaw, P. (2014, March 06). The Grand Budapest Hotel review – Wes Anderson’s new film is a ‘deeply pleasurable immersion’ | Peter Bradshaw. Retrieved from https://www.theguardian.com/film/2014/mar/06/the-grand-budapest-hotelwes-anderson-review 17. McFarland, K., & McFarland, K. (2017, August 23). 11 idiosyncratic accouterments in Wes Anderson films. Retrieved from https://film.avclub.com/11-idiosyncraticaccoutrements-in-wes-anderson-films-1798266699 18. How Wes Anderson Uses Mise en Scène. (2019, March 09). Retrieved from https://www.studiobinder.com/blog/mise-en-scene/ 19. Aldredge, J. (2017, October 18). How to Stylize Your Cinematography Like Wes

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cinematography-like-wes-anderson/ 20. In Film | March 19th, 2. 2. (n.d.). The Perfect Symmetry of Wes Anderson’s Movies.

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23. The Darjeeling Limited. (2016, January 07). Retrieved from https://film-grab. com/2010/07/19/the-darjeeling-limited/

Media : 1. Anderson, W. (Director), & Anderson, W., Rudin, S., Rales, S., & Dawson, J. (Producers). (n.d.). The Grand Budapest Hotel [Video file].

2. Anderson, W. W. (Director). (n.d.). The Darjeeling Limited [Video file].

3. Anderson, W. W. (Director). (2002). The royal Tenenbaums [Video file]. United states: American Empirical Pictures.

List of Figures : Fig : 01,23 : Anderson, W. (Director). (1998). Rushmore [Video file]. United states.

Fig : 02,20 : Anderson, W. W. (Director). (n.d.). The Darjeeling Limited [Video file].

Fig : 03,09,18,22 : Anderson, W. (Director). (2002). The royal Tenenbaums [Video file]. United states.

Fig : 04,10 : Anderson, W. (Director). (n.d.). Hotel Chevalier [Video file].

Fig : 05,07,11,16,17,24 :Anderson, W. (Director). (2014). The Grand Budapest Hotel [Video file]. United States: Fox Searchlight Pictures.

Fig : 06,08 : Anderson (Director). (n.d.). The life aquatic with Steve Zissou [Video file].

US: Buena Vista Home Entertainment.

Fig : 12,15,21 : Anderson, W. (Director). (2012). Moonrise kingdom [Motion picture].

U.S.: Universal.

Fig : 13,14 : Wes Anderson [Photograph]. (2019, May 20). Movie director, United states.

Fig : 19 : Anderson, W. (Director). (n.d.). Fantastic Mr. Fox [Video file].

Fig : 25, 26, 27,28 : Wes Anderson [Photograph]. (2018, June 04). Bar Luce, Lonely planet, Milan.

Fig : 29 to Fig : 43 : Every Wes Anderson Movie [Photograph]. (2018, March 20).

Honest Trailers, Screen Junkies.

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Fig : 44 : Anderson, W. (Director). (n.d.). Bottle rocket [Video file].

Fig : 45 : Anderson, W. (Director). (1998). Rushmore [Video file]. United states Fig : 46 : Anderson, W. (Director). (2002). The royal Tenenbaums [Video file]. United states.

Fig : 47 : Anderson (Director). (n.d.). The life aquatic with Steve Zissou [Video file].

US: Buena Vista Home Entertainment.

Fig : 48 : Anderson, W. W. (Director). (n.d.). The Darjeeling Limited [Video file].

Fig : 49 : Anderson, W. (Director). (n.d.). Hotel Chevalier [Video file].

Fig : 50 : Anderson, W. (Director). (n.d.). Fantastic Mr. Fox [Video file].

Fig : 51 : Anderson, W. (Director). (2012). Moonrise kingdom [Motion picture]. U.S.: Universal.

Fig : 52 : Lisola dei cani = (Isle of dogs) [Video file]. (n.d.).

Fig : 53 : Anderson, W. (Director). (2014). The Grand Budapest Hotel [Video file].

United States: Fox Searchlight Pictures.

Fig : 54, 55, 56 : The films of Wes Anderson [Photograph]. (2019, April 9). Pinterest. com.

Fig : 57, 58 : Anderson, W. (Director). (2014). The Grand Budapest Hotel [Video file].

United States: Fox Searchlight Pictures.

Fig : 59, 60 : Anderson, W. W. (Director). (n.d.). The Darjeeling Limited [Video file].

Fig : 61, 62 : Anderson, W. (Director). (2002). The royal Tenenbaums [Video file].

United states.

Fig : 63 to Fig : 97 : Anderson, W. (Director). (2014). The Grand Budapest Hotel [Video file]. United States: Fox Searchlight Pictures.

Fig : 98 to Fig : 128 : Anderson, W. W. (Director). (n.d.). The Darjeeling Limited [Video file] Fig : 129 : to Fig : 160 : Anderson, W. (Director). (2002). The royal Tenenbaums [Video file]. United states.

Fig : 161 to Fig : 166 : Yalcinkaya, G. (2017, December 16). The Budapest Cafe, Chengdu [Photograph]. Dezeen.com, Melbourne studio Biasol, Chengdu, China.

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