A directors angle: Making it their own

WARNING: SPOILERS AHEAD
Throughout the age of film, cinematic masterpieces have been brought to the big screen in all different genres. Hidden behind the thin curtain of star actors and actresses, directors and cinematographers work to find the right angle and the perfect tone for the film. Whether it be a foreboding mystery handed to us by Christopher Nolan, George Lucas’ legendary series of characters from a “galaxy far, far away”, or a secret fight club managed by David Fincher, illustrious films are nothing of short due to the work of these directors.
Here we can take a quick look into the angle that two iconic directors take to make movies their own: the renowned Quentin Tarantino and Wes Anderson.
You not only know who Quentin Tarantino is if you’ve heard the popular titles Pulp Fiction or Inglorious Basterds, but most likely have heard his name thrown in the air at every direction by film fanatics. Either that or Animé’s lyric referencing the coffee scene in Pulp Fiction is forming in your mind. Either way, Tarantino’s name is one to be known.
One of my best friends introduced me to the name Tarantino, and from there on out I’ve never been able to release myself from the beautiful but addictive circle of Tarantino binge-watching. But it’s not a bad thing, because he never disappoints.
Here’s why.
In any given Tarantino film, sudden and unexpected decisions are to always be expected. His strength of using the element of surprise is what most modern day movies strive for, yet not in the sense of plot twists (like Joe Wright’s Atonement) but rather quick and unexpected determinations of a character’s fate throughout the film. In Inglorious Basterds, Shosanna, the fleeting victim in the beginning of the film, is expected to prevail after shooting the persistent (and rather obnoxious) Fredrick Zoller. In a quick and unfortunate turn of events however, Tarantino’s infamous style of killing off his characters is shown a minute later after Zoller manages to fatally shoot Shosanna. As with the majority of his films, during the most dramatic moments, Tarantino utilizes ominous music to heighten the tension in a scene. The combination of both linear and nonlinear sound effects entice the viewers to await further action.
Despite the dramatic music, his movies are continuously raw and unafraid to expose the vices of human nature such as Hans Landa’s greed for power or Mia Wallace’s indulgence in her addictive pleasures. These flaws ultimately lead up to most of the character’s downfalls, often portrayed by death. In essence, Tarantino’s films play around with the “danse macabre”- the dance of death. Tarantino is not only most known for the number of deaths that take place in his films, but also how the deaths were shot. His long and revolving shots create suspense and prolong the viewers curiosity. The unparalleled ability to entice viewers with suspenseful yet sardonic shots easily puts him at high ranking as a legendary director.
Now on to another one of my favorite brilliant minds: Wes Anderson. If there was one word that could effectively describe director Wes Anderson’s films as a whole it would, without a doubt, be awkward. Not the “first date” or “Michael Cera” kind of awkward, but in the whimsical and unique kind of way. Basically, if Anderson’s films could personality match with a celebrity, it would be Matthew Gray Gubler (my personal hero).
This is not a shot at Wes Anderson’s talent whatsoever; in my opinion, it’s the highest praise possible. The tone of his films come across as quirky yet humorous, producing an indie film sort of vibe. Complementing this indie feel, the films cinematography portrays bright pastel colors, fabricating a certain mood that pleases his viewers (and making his films look like delicious brightly colored cupcakes).
The playful narrative that often accompanies Wes Anderson’s films brings forth a light-hearted yet unique story to each cinematic masterpiece, timing perfectly with the colorful scenery.
Anderson’s quick shots capture the quirky nature of the characters which allows the audience to find them endearing. He convinced the audience to adore Moonrise Kingdom Sam’s young yet independent character, admire the lonely and ‘fuck it’ attitude of Margot Tenenbaum, and detect Zero’s innocence and attentiveness in The Grand Budapest Hotel. Anderson manages, in every film, to make the spectators a new set of friends.
The common aspect between both talented men remain to be that both possess a satirical attitude in their films. These directors visualize the movie in full effect, creating a world that remains on Earth, but is still so far away.
In this creative and competitive job, there is no doubt that these directors and new ones alike work hard to bring about their own style and identity in their films. Those both young and old must bring their own selves in the game of age-old directing. Age has already been proven just a number by the young director Damien Chazelle (one of my new favorites), with his brilliant and dramatic Academy Award winning Whiplash and Golden Globe winning La La Land. His modern cinematic ideas attempt to bring back originality (after a period in cinema of predictable and tedious romcoms).While some of Tarantino and Anderson’s classics remain in the late 1900’s and early 2000’s. they will undoubtedly direct more masterpieces in the future.
So, I strongly advise you to pop in Kill Bill if you’re in need of a good jump or The Life Aquatic with Steve Zissou if you’re feeling the desire for humor and confusion. Just pour some butter on your popcorn, sit back, and let these masters of their art take you worlds away.
