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.
What’s red and yellow and twee all over? This Wes Anderson supercut
(Also, if you're looking to kill a little more time today, then check out Kaneria's other color-related supercuts for Pixar films and the work of Stanley Kubrick.)
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