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Photos and videos from instagram posts tagged with #WesAnderson

Images and videos tagged with #WesAnderson

We invited model maker Simon Weisse (tonights Jour Fixe) to surprise us with a material artefact from the Miniature Unit Berlin. Stay tuned... and see you tonight at the Villa! #jourfixe #burghalle #wesanderson #advent_calendar / @burgmaterial @burg_halle
From: @behind_the_cameras ・・・
Some of these are really original ways of filming! 😱
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“The Grand Hotel Budapest” Wes Anderson (2014)
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#filmmaking #wesanderson #movie #film #behindthescenes #behindthecameras #makingof #cameragear #ralphfiennes #billmurray #judelaw
Overhead tiles rendering II #thegrandbudapesthotel #wesanderson
! عاشق مستر فاکسم من
#fantasticmrfox
⭐⭐⭐⭐
#wesanderson
2 months away from my @mcaspets pups. Someone please come adopt Jumanji. PLEASE ❤️
2 months away from my @mcaspets pups. Someone please come adopt Jumanji. PLEASE ❤️
Be who you want to be, dress how you want to dress. Don’t worry about others opinions, just have fun! If I look in the mirror and I don’t laugh I did something wrong! People will walk by me and call me cartoon names or point and laugh in my face and I love it! I feel so honored. Call me what you will. I know I am a walking cartoon character! You do you! Love you!  Boots @fredasalvador  bag @boyyboutique hat @fallenbrokenstreet
Be who you want to be, dress how you want to dress. Don’t worry about others opinions, just have fun! If I look in the mirror and I don’t laugh I did something wrong! People will walk by me and call me cartoon names or point and laugh in my face and I love it! I feel so honored. Call me what you will. I know I am a walking cartoon character! You do you! Love you! Boots @fredasalvador bag @boyyboutique hat @fallenbrokenstreet
Almost Famous (2000)
— dir. Cameron Crowe
Almost Famous (2000) — dir. Cameron Crowe
Mid90s (2018)
— dir. Jonah Hill
Mid90s (2018) — dir. Jonah Hill
Singin’ in the Rain (1951)
— dir. Stanley Donen, Gene Kelly
Singin’ in the Rain (1951) — dir. Stanley Donen, Gene Kelly
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005)
— dir. Andrew Adamson
The Chronicles of Narnia: The Lion, the Witch and the Wardrobe (2005) — dir. Andrew Adamson
Closer (2004)
— dir. Mike Nichols
Closer (2004) — dir. Mike Nichols
Life of Pi (2012)
— dir. Ang Lee
Life of Pi (2012) — dir. Ang Lee
The Addams Family (1991)
— dir. Barry Sonnenfeld
The Addams Family (1991) — dir. Barry Sonnenfeld
Breakfast at Tiffany’s (1961)
— dir. Blake Edwards
Breakfast at Tiffany’s (1961) — dir. Blake Edwards
Twin Peaks (1990)
— dir. David Lynch
Twin Peaks (1990) — dir. David Lynch
Rear Window (1954)
— dir. Alfred Hitchcock
Rear Window (1954) — dir. Alfred Hitchcock
Cry Baby (1990)
— dir. John Waters
Cry Baby (1990) — dir. John Waters
Heathers (1988)
— dir. Michael Lehmann
Heathers (1988) — dir. Michael Lehmann
Her (2013)
— dir. Spike Jonze
Her (2013) — dir. Spike Jonze
Moonrise Kingdom (2012)
— dir. Wes Anderson
Moonrise Kingdom (2012) — dir. Wes Anderson
The Grand Budapest Hotel (2013)
— dir. Wes Anderson

On Anderson’s unmatched skill, Medium.com writes, “Much of Budapest is shot in deep focus — which means that, using a lens with a short, sensitive film stock, and higher light levels — Anderson creates shots where objects far from the camera’s perspective are pictured in equally crisp detail to objects in the close foreground.”
The Grand Budapest Hotel (2013) — dir. Wes Anderson On Anderson’s unmatched skill, Medium.com writes, “Much of Budapest is shot in deep focus — which means that, using a lens with a short, sensitive film stock, and higher light levels — Anderson creates shots where objects far from the camera’s perspective are pictured in equally crisp detail to objects in the close foreground.”
Annie Hall (1977)
— dir. Woody Allen

Unlike a few of Allen’s earliest successful films, Annie Hall is shot in color rather than in black and white. The color palette is still neutral and limited, conveying the feeling of hopefulness found in the city in one’s early life and not taking away from Allen’s alternate skills.
Annie Hall (1977) — dir. Woody Allen Unlike a few of Allen’s earliest successful films, Annie Hall is shot in color rather than in black and white. The color palette is still neutral and limited, conveying the feeling of hopefulness found in the city in one’s early life and not taking away from Allen’s alternate skills.
Edward Scissorhands (1990)
— dir. Tim Burton

Many of the scenes in the film are dimly lit and carry darkness with little to no vibrant color, representing Edward’s detachment and isolation from others.
Edward Scissorhands (1990) — dir. Tim Burton Many of the scenes in the film are dimly lit and carry darkness with little to no vibrant color, representing Edward’s detachment and isolation from others.
Lady Bird (2017)
— dir. Greta Gerwig

The muted tones of Gerwig’s 2017 hit help create the look of a memory. Without flashy color, the final appearance of the film is one of a raw image, full of warmth and personality.
Lady Bird (2017) — dir. Greta Gerwig The muted tones of Gerwig’s 2017 hit help create the look of a memory. Without flashy color, the final appearance of the film is one of a raw image, full of warmth and personality.
A Clockwork Orange (1971)
— dir. Stanley Kubrick

Vibrant primary colors such as yellow, red, and blue linger throughout the entirety of this film. As with many of Kubrick’s other films, these colors stand out as accents against the consistent use of white and black, most likely used to convey a dystopian feeling and emotionally detach the viewer from the characters.
A Clockwork Orange (1971) — dir. Stanley Kubrick Vibrant primary colors such as yellow, red, and blue linger throughout the entirety of this film. As with many of Kubrick’s other films, these colors stand out as accents against the consistent use of white and black, most likely used to convey a dystopian feeling and emotionally detach the viewer from the characters.
2001: A Space Odyssey (1968)
— dir. Stanley Kubrick

Kubrick’s use of bold colors in the film, specifically black and red accents, made them stand out against the brightly lit and white-washed backgrounds within scenes, conveying feelings of aggression and passion.
2001: A Space Odyssey (1968) — dir. Stanley Kubrick Kubrick’s use of bold colors in the film, specifically black and red accents, made them stand out against the brightly lit and white-washed backgrounds within scenes, conveying feelings of aggression and passion.
The Shining (1980)
— dir. Stanley Kubrick

Kubrick used chilling, stark colors to convey the uneasiness and tense relationships present throughout the film. Shots of red, whether they are of blood, coats, or hotel interiors always suggest some kind of supernatural occurrence.
The Shining (1980) — dir. Stanley Kubrick Kubrick used chilling, stark colors to convey the uneasiness and tense relationships present throughout the film. Shots of red, whether they are of blood, coats, or hotel interiors always suggest some kind of supernatural occurrence.