In Wes Anderson’s world, everything revolves around the details

When Wes Anderson was just beginning and reorganized some scenes for his 1996 debut “Bottle Rocket”, the Rookie director got a shock. Columbia Pictures had sent all the props of the film to a shop that she had sold for almost nothing.

When he made his next film “Rushmore” (1998), Anderson decided that the same thing would never happen again. He put everything in an SUV when the shoot was over and then drove away with the treasure to take care of him.

This decision not only helped Anderson himself. In the past two and a half years by the Cinémathèque Française in Paris and the Design Museum in London, Anderson’s warehouse facility in Kent, England, which contains thousands of objects from his films-to compile a museum retrospective of the work of the director.

Articles like this are the key to Anderson’s Signature style -strong on retro fashion, symmetry and pastel colors -as made popular by Instagram and TikTok accounts and are documented in books and magazine. However, Johanna Agerman Ross, curator in the Design Museum, said it was a “misunderstanding” to imagine Alson as a director that is defined by some stylistic tropics.

He also had “an extreme interest in the creative process,” said Agerman Ross, and he believed that even the smallest objects help to create a world on the screen had to be “fully shaped art and design pieces”.

Some of the most famous props of Anderson took weeks or months to grasp and make, including a Faux Renaissance painting “Boy with Apple”, which is released in the “Grand Budapest Hotel”. A automotive sales that Martinis from “Asteroid City” mixes and distributes; And painted Louis Vuitton luggage, which appears in “The Darjeeling Limited”.

Agerman Ross said that during the development of the exhibition she spoke to craftsmen who informed her that you had with Anderson Lange E -Mail correspondences to discuss all the details of the props that made you up to the fonts and colors for magazine covers that appear in “The French Dispatch” for milliseconds.

Matthieu Orléan, a curator at the Cinémathèque Française, said that Anderson’s attention to detail had shaped his projects from her beginnings. The exhibition includes a showcase that is filled with yellow, spiral notebooks in which the director has put down his ideas. They contain notes for scripts, in careful capital letters and tiny storyboards for scenes.

The exhibition also contains a screen that shows an animatics: A black and white animated storyboard with which Anderson actor and crew shows how he wants to appear on the screen. Orléan said that Anderson had produced them for all of his films since “Fantastic Mr. Fox” in 2008, and added that the director recorded the script that the actors know how he wants the lines to be delivered.

“Fantastic Mr. Fox”, Anderson’s first stop-motion animated film, was a turning point in his almost 30-year career.

On a tour of the show at the beginning of this week, Andy Ghent, a model manufacturer who worked on Seven Anderson films, said that the director “completely changed” the “The appearance” of stop-motion films by insisting that the dolls in this film have real animal fibers, even though they were difficult to control and have been between the shots and a screen effect that was described as “boiling” and The puppet show in which the doll’s fur was constantly moving.

Ghent and his other puppet makers become “over the smallest whisker slave” to ensure that the characters looked exactly as Anderson wanted, even though he was added that the director gave his craftsmanship despite his call for perfectionism.

For example, while he made “Isle of Dogs”, Ghent recalled that Anderson’s opening lessons were easy: “Socks a few dogs!” So Ghent and his team made months to make hundreds of mixed breed, with Anderson bits from individual models and asked the puppet manufacturers to bring them together. “It was surprisingly fun,” Ghent recalled.

At the opening of the Paris exhibition on Monday, one article attracted more attention than any other: the model of the Grand Budapest Hotel. Before he gave a short speech, Anderson, who had refused to be interviewed for this article, presented in front of his pink walls for photos, including a French pop star in a cute outfit, like a figure in a Anderson film.

Simon Weisse, who supervised the emergence of the props, said that six craftsmen spent three months building the model, the glass window and sheer curtains. However, the color selection was everything Anderson, he said.

Weisse said when the color samples had arrived in the studio for the first time, he couldn’t believe it. “I said: ‘Pink? Hellrosa and dark pink? No!'” He recalled. “I asked the art department to check whether there was no mistake, but they said: ‘It is correct. Wes chose these colors.'”

It was only when Weiss’s job ended that he estimated Anderson’s decision. The colors were quirky, but they repeated real Central European buildings and fit perfectly with the eccentricities of the film.

Anderson could sweat the smallest details, said Weises, but in the end he is always right. “