I think this sentence is really appropriate for director Wes Anderson. As the father of the fox, Big Fan, after watching the animation, immediately made up for all the other films of the director. Each of his films, whether it is the storyline, the character of the main character, or the composition of each shot, has a strong personal style, especially the arrangement of the shots, which is very interesting. He has such a great ability to make live-action feature films like animation, and the serious cartoons have a hint of adult humor.
I would like to analyze Wei Dao’s lens first. Wei Dao’s shots are particularly centered. The characters are generally located in the center of the picture, and the whole picture is actually a very flat scene with a sense of perspective. The props are often arranged in a row in an orderly manner. (For example, the three farm owners introduced by Fox Daddy, their props are all very neatly visited. Another example is the tents of the boy army captain in the Yuesheng Kingdom when they are inspecting, they are also neatly arranged in a row, and then the camera is followed from left to right. Show, there are many examples too numerous to mention) and the scene of the lens is often from a person's mid-to-close shot, and then pulled out to a neatly arranged row of people. At the same time, the director is very good at using pauses. After another burst of rhythmic drum accompaniment, it will suddenly become silent. Then I made a vision of Zhou Zhou Zhengzheng, and the content of the screen was basically still. Gives a very humorous feeling. Another very distinctive feature is that the director particularly likes to let the characters in the movie look directly at the camera. Generally speaking, in film creation, it is not recommended to let the characters in the film face the camera directly, because this will create a sense of alienation to remind the audience that there is a camera, and it is more difficult for the audience to get into the plot. But Wei Dao often does the opposite, which is very interesting.
In fact, every film of the director has too many deja vu elements. For example, in Dad Fox, I like to use tapes to record his theft career, and in Yuesheng Kingdom, the boy army commander has exactly the same tape. I saw the beautiful bright yellow tent full of owls and moons that the bishops and bishops of Yuesheng Kingdom used when they fled.
No matter which movie it is, their heroes are always so uncomfortable (such as the little fox son in the father of the fox, Sam in the moonbirth kingdom, and the silent Rich in the genius family), and they Those heroines have a touch of rebellion like that (Suzie with blue eyeshadow in Yuesheng Kingdom, Marg who started smoking secretly at the age of twelve in the genius family) The director would especially like to use a first character when introducing characters. The narration inserted by the three is introduced in conjunction with the screen, rather than through the plot or character lines.
I feel that Director Wei’s film has a very good grasp of the structure and rhythm of the climax of the entire story. Take Yuesheng Kingdom as an example: the film begins to show the audience the main characters in the three clues. This technique is actually very good for the director. Like to use (in the genius family, the opening of the film also starts with a single action of all the characters in the camera). The audience may not be able to remember these faces at the beginning, and may even be a little inexplicable. When the story develops to the end, each will be revealed one by one. The connection between personal things. Whether it is Daddy Fox or Yuesheng Kingdom, they have been laying the groundwork, and finally arranged a brilliant counterattack and great escape similar climax passages. Such passages are usually accompanied by a very rhythmic sonorous background music. There was another pause at the climax. (For example, in the Moonborn Kingdom, Sam was struck by lightning when he was chased by the most people, and Daddy Fox saw that there were too many people in the other party after expressing an impassioned statement. (Preparing to escape) In the
end, I think all the films of Director Wei are like the kind of mode in which the little boy in the most ending film of Yuesheng Kingdom explains the music for everyone: first, a rhythmic metronome will come up, (Director Wei will give us unconventional pictures and Characters) As time goes by, new instruments are continuously added, (constantly constructing new plot characters), and finally become more and more rich in very rational and rhythmic music, rushing to the climax of the film.
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