This week, we were introduced to the concept of symmetrical filmmaking, specifically focusing on the works of Wes Anderson and Stanley Kubrick. I was particularly fascinated not just by the visual aspects of Wes Anderson’s works, but also by the technique he employs in his filmmaking. Specifically, the practice of editing in a rhythmic manner. Through an in-depth investigation, I have discovered that every action within Wes’s frame is driven by a specific rhythm, song, or musical beat. Furthermore, not only are all shots edited with a precise identical time frame, but in certain instances, the interval is precisely 49 frames.
Furthermore, I am particularly fascinated by the fact that the dialogues in his films adhere to a well-defined rhythm, giving the characters’ talks the quality of a theatrical performance or even a musical number.
Cat, our studio leader, also guides us to a green screen studio that has a huge space, significantly greater than the modest one I had been to before. However, the significantly greater space is also accompanied by a stricter set of rules.