What’s red and yellow and twee all over? This Wes Anderson supercut

Supercuts of Wes Anderson’s films often draw on the director’s most recognizable features — his slow-motion scenes, his use of symmetry, his POV camera shots — but his subtler touches are just as collatable. This supercut by Rishi Kaneria focuses on the director’s use of red and yellow, a recurring theme that you might not have consciously registered in his films before. However, unlike Anderson’s use of scale models and “boxed assemblages” — which suggest childlike curiosity and a need to organize an emotionally confusing world — there’s no immediate significance behind the director’s use of red and yellow, yellow and red. Perhaps he just likes these colors. That’s fine by us.