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Wes Anderson on the set of The Royal Tenenbaums, 2001. Photo, James Hamilton
A complex visual language is Wes Anderson’s calling card. With his eye, set design becomes both a storytelling device and character cue. His private house, so far, is off limits, Apartamento magazine follows the the art of his set design: submarines, intricate brownstones ands vintage color schemes are his stock-in-trade Apartamento’s Editor-in-Chief Marco Velardi says;
“You could compare Wes Anderson to an interior decorator. I always say that a picture of someone’s home tells you a lot more about that person than any portrait possibly can. 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. Ultimately, if you look at his work there are a lot of interiors, with very peculiar and very precise work on the spaces and what people wear. Wes is passionate about every single detail, and that’s why it’s fascinating for us. ”
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The Grand Budapest Hotel, 2014, 1960s lobby. Photo, Martin Scali
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Madame D’s suite from The Grand Budapest Hotel, 2014. Photo, Martin Scali
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“Fox Home Study,” illustration by Turlo Griffin for Fantastic Mr. Fox, 2009
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Fantastic Mr. Fox, 2009. “Fox Home Study,” llustration by Turlo Griffin
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The Life Aquatic, 2004
Photo, Philippe Antonello
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The Darjeeling Limited, 2007. Photo, James Hamilton
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Natalie Portman, The Darjeeling Limited, 2007. Photo, James Hamilton
(via Nowness)
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