{"id":305,"date":"2009-04-15T11:22:06","date_gmt":"2009-04-15T19:22:06","guid":{"rendered":"http:\/\/fwdlabs.com\/blog\/?p=305"},"modified":"2016-05-16T19:03:48","modified_gmt":"2016-05-17T02:03:48","slug":"wes-andersons-substance-of-style","status":"publish","type":"post","link":"https:\/\/fwdlabs.com\/blog\/wes-andersons-substance-of-style\/","title":{"rendered":"Wes Anderson&#8217;s Substance of Style"},"content":{"rendered":"<div class=\"imageframe imgalignright\" style=\"width:320px;\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/fwdlabs.com\/blog\/wp-content\/uploads\/wes-anderson.jpg\" alt=\"wes-anderson\" width=\"320\" height=\"240\" class=\"attachment wp-att-306\" \/><\/p>\n<div class=\"imagecaption\">&#8220;The Substance of Style&#8221;<\/div>\n<\/div>\n<p><a href=\"http:\/\/www.movingimagesource.us\/\">Moving Image Source<\/a>, a web project from the <a href=\"http:\/\/www.movingimage.us\/\">Museum of the Moving Image<\/a>, posted the final installment of &#8220;The Substance of Style,&#8221; a 5-part video essay analyzing Wes Anderson&#8217;s key influences.<\/p>\n<p>Focused on &#8220;the alchemy of creation,&#8221; author\/narrator\/editor Matt Zoller Seitz breaks it down:<\/p>\n<ul>\n<li><a href=\"http:\/\/www.movingimagesource.us\/articles\/the-substance-of-style-pt-1-20090330\">Part 1<\/a>: <strong>Bill Melendez<\/strong> (&#8220;wisdom and naivete of Charlie Brown&#8221;), <strong>Orson Welles<\/strong> (&#8220;decline and failure &#8230; dynamic and often flamboyant visuals&#8221;), and <strong>Fran\u00c3\u0192\u00c2\u00a7ois Truffaut<\/strong> (&#8220;fascination with childhood and it&#8217;s persistence in adulthood&#8221;)<\/li>\n<li><a href=\"http:\/\/www.movingimagesource.us\/articles\/the-substance-of-style-pt-2-20090403\">Part 2<\/a>: <strong>Martin Scorsese<\/strong> (&#8220;slo-mo to italicize &#8230; God&#8217;s-eye-view insert shot &#8230; whip pans that split the difference between first person and third&#8221;), <strong>Richard Lester<\/strong> (&#8220;buoyant, engaged editing&#8221;), and <strong>Mike Nichols<\/strong> (&#8220;generic structure with nearly unlimited emotional range&#8221;)<\/li>\n<li><a href=\"http:\/\/www.movingimagesource.us\/articles\/the-substance-of-style-pt-3-20090406\">Part 3<\/a>: <strong>Hal Ashby<\/strong> (&#8220;ability to jump from genre to genre with impunity and to make almost any situation seem perfectly natural&#8221;)<\/li>\n<li><a href=\"http:\/\/www.movingimagesource.us\/articles\/the-substance-of-style-pt-4-20090409\">Part 4<\/a>: <strong>J.D. Salinger<\/strong> (&#8220;self-aggrandizing lost soul &#8230; neurotic, depressive, hyperachieving&#8221;)<\/li>\n<li><a href=\"http:\/\/www.movingimagesource.us\/articles\/the-substance-of-style-pt-5-20090413\">Part 5<\/a>: Prologue to The Royal Tenenbaums, annotated<\/li>\n<\/ul>\n<p>Related, check out the director&#8217;s consistent use of the typeface <a href=\"http:\/\/en.wikipedia.org\/wiki\/Futura_(typeface)\">Futura<\/a>, created by Paul Renner in 1928 and widely used in the 1960&#8217;s. Not just in most of his film&#8217;s opening titles but also throughout the art direction, which typographer <a href=\"http:\/\/www.marksimonson.com\/article\/87\/royal-tenenbaums-world-of-futura\">Mark Simonson<\/a> notes in screenshot form. Director Stanley Kubrick was also a fan of the font.<\/p>\n<p>(via <a href=\"http:\/\/www.kottke.org\/09\/04\/wes-anderson-annotated\">Jason Kottke<\/a>)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8220;The Substance of Style&#8221; Moving Image Source, a web project from the Museum of the Moving Image, posted the final installment of &#8220;The Substance of Style,&#8221; a 5-part video essay analyzing Wes Anderson&#8217;s key influences. Focused on &#8220;the alchemy of creation,&#8221; author\/narrator\/editor Matt Zoller Seitz breaks it down: Part 1: Bill Melendez (&#8220;wisdom and naivete [&hellip;]<\/p>\n","protected":false},"author":43,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[8,6,7],"tags":[],"class_list":["post-305","post","type-post","status-publish","format-standard","hentry","category-design","category-film","category-web"],"_links":{"self":[{"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/posts\/305","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/users\/43"}],"replies":[{"embeddable":true,"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/comments?post=305"}],"version-history":[{"count":1,"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/posts\/305\/revisions"}],"predecessor-version":[{"id":6252,"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/posts\/305\/revisions\/6252"}],"wp:attachment":[{"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/media?parent=305"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/categories?post=305"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/fwdlabs.com\/blog\/wp-json\/wp\/v2\/tags?post=305"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}