Wes Anderson's Film Interiors

Written by Lana Spota

June 5 2024

Still taken from BTS of The Life Aquatic with Steve Zissou (2004)

Looking at any popular parody or recreation of Anderson's filmmaking, the common denominator always lands somewhere having to do with precise attention to detail, eccentric props and costume design, or hand-crafted detailing in every coordinate of the frame. The director's notorious attention to the Mise-en-scène is breaking boundaries in the film industry, as few directors relating to the contemporary era have cinematics that are just as synonymous with their visual worlds. In an industry where most films are watered down by special effects, larger-than-life set locations, and little to no association between visual construction and storytelling, Wes Anderson challenges the norm with his personal, 'antique store display window' use of scene.

A very popular theme in Anderson's sets is the element of accumulation. Not only does each prop create a more lived-in style, but introduces us to the characters and their worlds without having to say much. The seventeen different drawings of Margot Tenenbaum in The Royal Tenenbaums (2001), each created by Anderson's brother, Eric, that are hung on the walls of the Tenenbaum manor add to the family's cluttered and disheveled relationship, but also speaks on Richie (Luke Wilson) and his love for Margot (Gwenyth Paltrow).

Nacho Alegre, director and co-founder of Apartamento, says, "I imagine in a movie the time you have to describe a character is limited, so using the interiors to do so probably becomes something of a necessity." In The Royal Tenenbaums, Anderson creates this idea of New York, where the film takes place, but through eccentric detailing within his characters. We learn about the Type A Chas (Ben Stiller), through his work center and 2001 model year BMW; Richie, the forgotten child, through his bedroom tucked away in the attic. It seems that in "Wesworld", everything in the frame is there for a reason. A writer from Rolling Stone, discussing Anderson's classic insert shot, states, "When the filmmaker cuts to one of his frequent insert shots - showing us the record player, book, stamp, or other vintage and/or handcrafted object they're looking at - the objects not only help build the world, but speak volumes about the gentleman behind it."

Today, I'd like to take a look at some of my favorite sets from Anderson's filmography - one that I am proud to say I have completed just recently. Throughout my watches, I've realized that Anderson is not afraid to stray away from fun. With that behind said, I hope you enjoy these sets as much as I do.

The French Dispatch (2021)

Starting with Anderson's second to most recent film - The French Dispatch. Wes Anderson is one of the only filmmakers I know that can get away with being such an intense francophile, and it is excusable since he admires filmmakers like Jean Renoir. I love this set design in particular because aside from outside lighting, both characters are illuminated by the jukebox that they rest on. It's such a poignant way to cast your characters in a different light than normal. Anderson still finds a way to maintain his signature symmetrical cinematography, but in a way that is more elusive than most.

Asteroid City (2023)

Anderson's most recent film, Asteroid City is one that love for its color grade, philosophical undertones, and attention to detail. However, I also love it for it's scenes like these, in which subjects of great scale seem compressed in a way, almost dollhouse looking. Anderson is known for creating sets of smaller sizes to create the illusion that it is actually big, but I love the playhouse feel it gives the scene.

The Royal Tenenbaums (2001)

This shot, taken from The Royal Tenenbaums, might be one of my favorites from the entire film. Even though Richie, the character in the still, is too big and old for the tent, he finds a way to fit himself in there. I love the childlike atmosphere, as if Richie is struggling to let go of it, or as if is an inner part of himself that will always remain kept away. Again with the lighting, the disco ball that hands above him is another childlike chandelier that makes the essence that Wes is trying to portray stronger.

Moonrise Kingdom (2012)

I love this shot so much. We get a full look at the house through one frame, but it's split through three different interiors, all of which are made up of great details. The simple design of the jars in the pantry, to the vintage checker tiles, all contribute to the frame that sets up the characters that we never end up really getting to know. It's such smart filmmaking that more directors and set designers should be thinking about.

The Grand Budapest Hotel (2014)

Wes really knows how to use his color palette, and it's extremely evident in this entire film, The Grand Budapest Hotel. The mix of pastel pink, purple, and gold transforms the scene into some kind of wonderland. The backdrop of the castle looks from a play or a musical, with it's one dimensional and flat sizing, however, it fits very nicely with the scene altogether.

Fantastic Mr. Fox (2009)

I really admire than regardless of the film medium, Wes still finds a way to prioritize his interiors. This shot from Fantastic Mr. Fox is great, because he takes the idea of a teenage bedroom and carries it into a different kind of species. Even foxes love trains!

Moonrise Kingdom (2012)

Lastly, probably the most symmetrical shot of this entire journal. I love the stitching on the rug, to the curtains, to the two matching lights that resemble chalices, or candles. Wes really plays into the idea of twin, or in this case, triplet telepathy, and he stresses that through similar posing, bedrooms, and interests (like in this case, music!).