There is no single word to describe how beautiful, vibrant and mesmerizing these films look, how they transport you to another quirky universe. Thank you, Wes Anderson, Robert Yeoman, production design teams, (actors too!) and of course Nick Hansbauer for sharing what's behind the curtain. I treasured this featurette.
Pardon the little slip-up at 4:58. As a couple attentive viewers have pointed out, that isn't really a scene from The Royal Tenenbaums! It's a scene from a Stella Artois commercial by Wes Anderson and Roman Coppola: th-cam.com/video/hJ3dtPlD-8Q/w-d-xo.html (Must have snuck in at the wrong place sometime during the edit.) Sorry about the confusion!
just walked by a screen playing 'martian child' with a scene with city lights reflected on the car window that reminded me of odyssey 2001 and then I found out how fitting it was so I googled the cinematographer and wow how amazing is his work,..no doubt that wes andersons work has gained tremendously cause of this man , awesome teamwork :o
What I suspect makes Wes Anderson movies so unique and wonderful is Wes Anderson and his personality. It seems as if he really does bring out the best of not only the actors but everyone involved in this production. From the set designers to wardrobe, music (which seems to always be perfect) to Yeoman. A Wes Anderson movie is like hearing a great musician and knowing who it is without seeing or knowing it's them! Like Miles Davis on his Horn or BB King in his guitar. The French Dispatch may be as close to a modern Masterpiece as possible. Every characters performance is their very best possible. Very impressed with the young people, the Students, in that story. Timothy was amazing! Timing was superb! I have this movie recorded and have it on daily for background when I'm doing other things. The music alone...would likely unnerve me after a while but it works so perfectly with the pace of the scenes. It really is art in an era of such big budget corporate crap coming outta Hollywood
I was fortunate to have been a P.A. on a commercial shooting right next door at the Occidental Studios in L.A. (there's only 2 stages -- it's the oldest in L.A. -- Chaplin shot there first in America ...) ... literally at the same time as Mr. Yeoman was shooting RENTED LIPS for director Robert Downey, Sr. in 1987-ish. It was a big song & dance number -- with a ton of logistics -- and so, during breaks on my stage (a German toy commercial directed by the esteemed, alas late Cal Bernstein of Dove Films) -- -- I'd wander over to see how it was coming ... complete with a bunch of costumed Thanksgiving-esque Native American Indian & Puritan dancers -- Bit by bit ... until they got the first shot off, I marveled at the ease of which he lit the scene and with not the biggest of lighting packages. It was something I've always remembered for my own stuff I've D.P.'d .... that less is more. It's being creative with it ... and just what you do with it. SIDE NOTE: Robert Downey, Jr. was one of the stars of the film RENTED LIPS ... and the coolest thing was, besides what a nice guy he was -- but that he stood in the very same spaces that CHARLIE CHAPLIN did when he first filmed in the U.S. in the 1920's. It would be a few years later, that Downey, Jr. would portray Chaplin in CHAPLIN ... and get an Oscar nomination. Go figure. D.A.
Woah man, that's absolutely incredible! Sounds like an amazing experience, too cool! - And yes I fully agree, it's definitely your talent and what you do with what you have. (Good golf clubs alone have never made a good golfer ;) )
Haha klein ist die Welt :) Freut mich wenn's dir gefällt, war für mich auch total überraschend als das dann plötzlich auf einigen Seiten wie NoFilmSchool von einem Tag auf den nächsten gefeatured war! Bis bald hoffentlich!
I know this was an assignment, but it is pretty great and something I really wish I could find more of on TH-cam. EveryFrameAPainting is pretty much the only one doing this, but I think if you made more of these types of videos you would be fairly successful on TH-cam. I greatly encourage you to make more of these videos and they will go far.
Haha I don't suppose he did! But whilst going through the various interviews I did wonder how weird it must have been for the filmmakers DPing the interviews to be setting up a shot and a lighting such a talented cinematographer^^ (Not gonna lie, the thought of having to do that does make me a bit anxious!)
I only just saw GBH last night and it was lovely! I'm surprised you didn't say anything about 1 point perspective which is a common theme with Kubrick films.
Thanks so much for this video - so interesting. I love the worlds that Wes Anderson has created. My heaven will be eternity as a crew member on Team Zissou!
Nick Hansbauer No. No where near. Just an amateur photographer. But I love film and really enjoy people who can speak knowledgeably about it. Keep it up! Cheers and Happy Holidays.
Great video showcasing great film makers! The scene at 5:17 is actually form The Royal Tennenbaums, I haven't seen Rushmore yet but that is definitely Young Chas :)
+Oscar Uzcategui Thanks a lot for the request :) Currently I'm finishing up my studies but I definitely do want to make more of these, so I have added Elswitt to my list of potential future topics!
Loved the video Nick, do you have any idea how the wes anderson style exposition shots are done? For example, when we see the grand budapest from the front; is that a painting? It has a lovely isometric quality to it that I'm trying to capture in my work. I find it present all throughout Anderson movies. Is this part of the way his wide angle lenses see the world?
Hi Rook. Interesting question indeed. It's hard to say exactly how the picturesque look is created in Anderson films, as surely there are a wide variety of different techniques being applied. What I do know is that sometimes backgrounds are actually painted (just like the backdrop of a theatre) and depth is created with foreground objects and other times, like was the case with the Grand Budapest Hotel, they built miniature models which probably also add to the perfect, toy-like feeling. (www.messynessychic.com/2014/03/06/the-real-life-hotels-and-miniatures-from-wes-andersons-grand-budapest-dream/) Lastly, there is also often going to be post production work needed to bring the different elements together into the film's worlds.
That moment you realize 1) You're not a film person, and 2) You have a dirty mind when you hear "So-and-so DP'd all of Wes Anderson's films" and you spit-take.
Hey! The music throughout are scores from different Wes Anderson films. Most of the tracks are from Grand Budapest Hotel with the exception of "These Days" by Nico.
In 2:38 has an equipament called ocullar, so what's the real name of this camera ? please! i know that kubrick used this on the shinning and tarantino in all the movies he makes
I've answered this in a previous comment somewhere, this is called a "director's viewfinder". It isn't a camera, but a device that one can use to see what different lenses / focal lenghts will frame up when put on a camera. (It's a lot easier to just look through that, than to walk around with a heavy camera to check out different framing options.) If you can't afford one, a good iOS app that I often use that does the same thing is called "Artemis" :)
Hey I'm doing a school work and I kind of need to know were did the part where wes anderson talks about his longs takes came from. If anyone knows, please respond thiss it's really important.
Thank you for making this. Wes is my fav director and I learned a lot from this video compared to other videos about Wes on YT. Would you recommend any videos about Wes that I should totally watch?
+The Zedd Productions Thanks a ton, Zedd! I usually find that the bonus features on DVD's etc. usually offer a pretty interesting insight into the productions!
+The Zedd Productions I wish I had! The footage from this video is a collection of various existing interviews with Robert Yeoman, for the precise titles please refer to the end credits :)
Very simply put, anamorphic lenses capture a wider image, that is squeezed onto the camera sensor and later stretched out again to give a wider image, something we often associate with being "more cinematic". (Oftentimes this will be a 2.35:1 aspect ratio, with those black bars on the top and bottom of the image.) Anamorphic lenses also have a differently shaped bokeh than spherical lenses (oval vs. round) and can produce horizontal lens flares across the image. The studio most likely didn't let Wes Anderson use anamorphic lenses, as they are often a lot more expensive than spherical lenses. - Another reason could have been that they didn't approve of the look for the picture or for the director, but I'm assuming the main issue was the cost.
im doing a research about wes anderson's style, does anyone know why he use the symmetrical framming? especially in the grand budapest hotel. what do you guys think we trying to do? any journal that i should read?
I believe the symmetry is purely aesthetic. I did read once that Wes never went to film school (think he studied Psychology) and that's why he came up with his own cinematic language / mise en scène by simply doing what felt good for him vs. what a film school would regularly teach. (Namely to not shoot boxed in, flat & square against walls, etc.)
@@nickhansbauer Yeah, I think the simple answer is because that's what he likes! Symmetry, wide-angle lenses, moving cameras, and good colour and design - that's Wes Anderson! Oh, yes, and a great sense of humour!
Rayell Abad Guangorena Good question, as a matter of fact, they're commonly referred to as "Director's Viewfinder" (or simply "Director's Finder"). They come in all different shapes and sizes and some have their own zoom lens fixed to it, and on others you can attach your own lenses. Handy tool to let the director or DP quickly look at a shot size without needing to get a camera set up :)
+Daniel Burgess Hi Daniel! Just before 1:45 he mentions 'Fat City' (directed by John Huston, photographed by Conrad L. Hall) and right after 1:45 Yeoman references 'McCabe & Mrs. Miller' (directed by Robert Altman, photographed by Vilmos Zsigmond). Hope that helps :)
This American Cinematographer article from March 2014 holds answers to your question. www.theasc.com/ac_magazine/March2014/TheGrandBudapestHotel/page1.php I also read somewhere else that Yeoman experimented a lot with random vintage lenses he picked up somewhere in Paris but can't verify that information unfortunately.
Sorry but, according to the introduction, you imply the DP (and not the director) is the guy who "translates what is in the script to the screen". Not that I'm not aware on most occasions that's the case, keeping in mind the majority of film directors are, to my surprise, not very good at blocking, framing and choreographing the scenes in a movie ... but we're talking about Wes Anderson here. You can like his style or not (I personally believe it's too derivative of the original collaboration between the Coen Brothers and Barry Sonnenfeld, and that he has kept distilling his own tics and rules until getting an almost, but far from original, style) but I'm sure we agree Wes Anderson has his own voice beyond who takes care of the light. It only takes to analyze his DP's work with other directors to realize he's not the wizard behind the curtains, Anderson's aesthetics wise.
Depends at what timestamp. Most of the music is just the film score of various Wes Anderson films like e.g. The Grand Budapest Hotel. The opening song is called 'These Days' by Nico.
+Oscar Uzcategui That's a good question Oscar. From my observations, it appears that Yeoman and Anderson mainly use lenses in the 18mm - 35mm range, with the occasional 50mm thrown in there. I once read that when they shoot animorphic, that they often shoot on a 40mm and when shooting spheric, lean towards a 27mm lens and for the really wide shots they use a 15mm fish eye.
Pardon me, that must have snuck in at the wrong place somewhere during the edit! Anyhow, that's a scene from a Stella Artois commercial by Wes Anderson and Roman Coppola! th-cam.com/video/hJ3dtPlD-8Q/w-d-xo.html Hope that helps!
Rodrigo Poncinelli Thanks a lot for the feedack Rodrigo! I completely agree, it's unfortunate that the audio quality is rather poor. I recorded with a Zoom H4n running directly into a computer via USB and had quite some issues with compression etc. Tried to fix it in the time I had, but it ended up sounding a bit thing and blown :S
Wow Wes' handwriting even looks like his films
Madeleine Morris no way ! the similarity is unbelievable!
There is no single word to describe how beautiful, vibrant and mesmerizing these films look, how they transport you to another quirky universe. Thank you, Wes Anderson, Robert Yeoman, production design teams, (actors too!) and of course Nick Hansbauer for sharing what's behind the curtain. I treasured this featurette.
+Suzie Park What an amzing! Thank you so so much for the great feedback!
By the way, in case anyone is interested, I got a B on this assignment :)
+Nick Hansbauer I think you should've gotten an A
+rccsrGaming Getting a B on a good assignment pushes a good artist into a great one.
Thanks for the kind words :)
You should have got an A!
Was it B because you made mistake when you said that Yeoman shot all of Anderson's films but he didn't, you know that right? Otherwise great video;)
As a huge Wes Anderson fan (he's my favorite director) I have to say this is a great video.
+Jacob Harris What an honorable comment! Thank you Jacob.
Truly the most Wes andersony movie of Wes Anderson.
Moonrise Kingdom, his humour, his cinematography, his cute awkwardness, just everything
Wes Anderson's voice = Owen Wilson's voice
Dilan Torres looominottie cumfirmed
I guess they have similar voices because they are both from Houston, Texas
Cégalo and they were room mates in university and made all of their first films together
Love WesAnderson Movies, love the photography and art direction and now I love this little mini doc for giving me an insight.
Thanks.
Wow. That was a beyond wonderful analysis of Mr. Yeoman.
RareCandeh Many thanks for watching and for the kind comment, greatly appreciated :)
Pardon the little slip-up at 4:58. As a couple attentive viewers have pointed out, that isn't really a scene from The Royal Tenenbaums! It's a scene from a Stella Artois commercial by Wes Anderson and Roman Coppola: th-cam.com/video/hJ3dtPlD-8Q/w-d-xo.html (Must have snuck in at the wrong place sometime during the edit.) Sorry about the confusion!
Same thing at 5:14. It's not Rushmore, but The Royal Tenenbaums. :)
Huge respect for the video tho!
I was going to say the same thing.
Eagle eyed! ;) Thanks for spotting!
Nick Hansbauer d
Put an annotation of 5:14 and 4:58 for The Royal Tenenbaums and the commercial respectively
just walked by a screen playing 'martian child' with a scene with city lights reflected on the car window that reminded me of odyssey 2001 and then I found out how fitting it was so I googled the cinematographer and wow how amazing is his work,..no doubt that wes andersons work has gained tremendously cause of this man , awesome teamwork :o
Great overview and introduction to a fantastic cinematographer! Thank you for sharing. My film arts students really enjoyed it. :)
Woah, just read this! That's awesome and I'm humbled that you shared this with your students! Thanks for letting me know :)
This video truly made me realize how many moving parts there are in the production of movies... geez
Great! Really interesting, being a Wes Anderson fan. I've not see any interviews with RY before so this was great!
+Anna Franklin Thanks Anna! Yes, he does seem to stay out of the spotlight a bit, a humble man indeed :)
What I suspect makes Wes Anderson movies so unique and wonderful is Wes Anderson and his personality. It seems as if he really does bring out the best of not only the actors but everyone involved in this production. From the set designers to wardrobe, music (which seems to always be perfect) to Yeoman. A Wes Anderson movie is like hearing a great musician and knowing who it is without seeing or knowing it's them! Like Miles Davis on his Horn or BB King in his guitar.
The French Dispatch may be as close to a modern Masterpiece as possible. Every characters performance is their very best possible. Very impressed with the young people, the Students, in that story. Timothy was amazing! Timing was superb! I have this movie recorded and have it on daily for background when I'm doing other things. The music alone...would likely unnerve me after a while but it works so perfectly with the pace of the scenes. It really is art in an era of such big budget corporate crap coming outta Hollywood
you should make more of these with other cinematographers! great work!
this is so good, I've learnt so much from this video!!! Wes Anderson films are amazing especially the mise-en-scene and cinematography
Great video! loved grand Budapest so it's lovely to learn more about Wes Anderson
I’ve always said I would like to step into almost any of Wes’s movies and live in his world
Nick! Great job on this video. Yeoman is a genius. Thanks for taking the time to produce this.
Thanks for taking the time to watch :)
I was fortunate to have been a P.A. on a commercial shooting right next door at the Occidental Studios in L.A. (there's only 2 stages -- it's the oldest in L.A. -- Chaplin shot there first in America ...)
... literally at the same time as Mr. Yeoman was shooting RENTED LIPS for director Robert Downey, Sr. in 1987-ish.
It was a big song & dance number -- with a ton of logistics -- and so, during breaks on my stage (a German toy commercial directed by the esteemed, alas late Cal Bernstein of Dove Films) --
-- I'd wander over to see how it was coming ... complete with a bunch of costumed Thanksgiving-esque Native American Indian & Puritan dancers --
Bit by bit ... until they got the first shot off, I marveled at the ease of which he lit the scene and with not the biggest of lighting packages.
It was something I've always remembered for my own stuff I've D.P.'d .... that less is more. It's being creative with it ... and just what you do with it.
SIDE NOTE: Robert Downey, Jr. was one of the stars of the film RENTED LIPS ... and the coolest thing was, besides what a nice guy he was -- but that he stood in the very same spaces that CHARLIE CHAPLIN did when he first filmed in the U.S. in the 1920's.
It would be a few years later, that Downey, Jr. would portray Chaplin in CHAPLIN ... and get an Oscar nomination. Go figure.
D.A.
Woah man, that's absolutely incredible! Sounds like an amazing experience, too cool! - And yes I fully agree, it's definitely your talent and what you do with what you have. (Good golf clubs alone have never made a good golfer ;) )
so good! you should've gotten an A!
That Tennenbaums scene with the crash reminds me a lot of the tracking techniques Fellini would use
Great interview. Always loved the camera work on Wes Anderson films.
More like this! What an awesome vid thanks for taking the time to make it. Make more!!!!
WOW! Hab das Video vor Ewigkeiten auf NoFilmSchool gesehen, hatte aber keine Ahnung von wem's ist. Sehr nice!
Haha klein ist die Welt :) Freut mich wenn's dir gefällt, war für mich auch total überraschend als das dann plötzlich auf einigen Seiten wie NoFilmSchool von einem Tag auf den nächsten gefeatured war! Bis bald hoffentlich!
Ja, ziemlich genius! Yes bis bald :)
:)
Wie gesagt: Jeder frame wie ein Bild dass man sich an die Wand hängen möchte! :)
Super interessantes Video Nick!
x Pauli
Aw thanks so much for watching! Hehe und ja auf jeden Fall, sehr perfekte "composition" :)
I know this was an assignment, but it is pretty great and something I really wish I could find more of on TH-cam. EveryFrameAPainting is pretty much the only one doing this, but I think if you made more of these types of videos you would be fairly successful on TH-cam. I greatly encourage you to make more of these videos and they will go far.
+Specter Ranger Wow! Thanks for the very encouraging words! :) I really do hope to be able to make more!
I absolutely love his style
I worked as a PA on a set with him, he was all class.
That's so cool! What an amazing experience that must have been.
This is a fantastic video, well done!
Thank you so much for this video. Fantastic job!
Robert Yeoman didn't DP his interview, did he?
Haha I don't suppose he did! But whilst going through the various interviews I did wonder how weird it must have been for the filmmakers DPing the interviews to be setting up a shot and a lighting such a talented cinematographer^^ (Not gonna lie, the thought of having to do that does make me a bit anxious!)
I only just saw GBH last night and it was lovely! I'm surprised you didn't say anything about 1 point perspective which is a common theme with Kubrick films.
Thanks so much for this video - so interesting. I love the worlds that Wes Anderson has created. My heaven will be eternity as a crew member on Team Zissou!
Thanks for the feedback! :) So you crew on films? That's pretty cool!
Nick Hansbauer No. No where near. Just an amateur photographer. But I love film and really enjoy people who can speak knowledgeably about it. Keep it up! Cheers and Happy Holidays.
Very cool, still! :) Thanks a lot, happy holidays to you as well!
So interesting, thank you for the analysis!
PoivronBleu Why thank you for watching (:
great video! inspiring! make more like this!
Great video showcasing great film makers! The scene at 5:17 is actually form The Royal Tennenbaums, I haven't seen Rushmore yet but that is definitely Young Chas :)
Man I love this video!! Thank you so much.
+David Cadavid Thank YOU for watching, David!
I'm not sure how busy you are or if you're interested but I'd LOVE to see a video like this for Robert Elswitt.
+Oscar Uzcategui Thanks a lot for the request :) Currently I'm finishing up my studies but I definitely do want to make more of these, so I have added Elswitt to my list of potential future topics!
Loved the video Nick, do you have any idea how the wes anderson style exposition shots are done? For example, when we see the grand budapest from the front; is that a painting? It has a lovely isometric quality to it that I'm trying to capture in my work. I find it present all throughout Anderson movies. Is this part of the way his wide angle lenses see the world?
Hi Rook. Interesting question indeed. It's hard to say exactly how the picturesque look is created in Anderson films, as surely there are a wide variety of different techniques being applied. What I do know is that sometimes backgrounds are actually painted (just like the backdrop of a theatre) and depth is created with foreground objects and other times, like was the case with the Grand Budapest Hotel, they built miniature models which probably also add to the perfect, toy-like feeling. (www.messynessychic.com/2014/03/06/the-real-life-hotels-and-miniatures-from-wes-andersons-grand-budapest-dream/) Lastly, there is also often going to be post production work needed to bring the different elements together into the film's worlds.
Thank you! This is exactly what I was looking for
this is super interesting, thanks!
Wonderful ! I didn't really know him, thanks a lot :D !
Camille Rochette Aw, thanks for the kind comment Camille :)
Reply ·
Nick Hansbauer You're welcome :)
That moment you realize 1) You're not a film person, and 2) You have a dirty mind when you hear "So-and-so DP'd all of Wes Anderson's films" and you spit-take.
at 5:16 that scene is from the Royal Tenenbaums not Rushmore.
The closing comment from Mr. Yeoman is epic! Haha
This was a crazy good video man awesome job!!
+Hammington DC Hey, thanks so much!
Nice eye! How long have you been shooting?
Great video what back ground music did you use?
I like the music you used throughout... Does anyone know what they are? :)
Hey! The music throughout are scores from different Wes Anderson films. Most of the tracks are from Grand Budapest Hotel with the exception of "These Days" by Nico.
ooh thank you! Great video, it taught me a lot ^_^
Stanley Kubrick also used a wide angle lens in close ups
Cool! That's really cool. Thank you for this vid.nice
It's pronounced "Mar-gouh" not "Margett"...
great video my friend
In 2:38 has an equipament called ocullar, so what's the real name of this camera ? please! i know that kubrick used this on the shinning and tarantino in all the movies he makes
I've answered this in a previous comment somewhere, this is called a "director's viewfinder". It isn't a camera, but a device that one can use to see what different lenses / focal lenghts will frame up when put on a camera. (It's a lot easier to just look through that, than to walk around with a heavy camera to check out different framing options.) If you can't afford one, a good iOS app that I often use that does the same thing is called "Artemis" :)
Hey, awesome essay. Where did you find the Wes Anderson interview where we talks about the use of long takes. Thanks
Hi Sam! It's been a while since I compiled this video essay so I can't say for sure anymore, but all the sources are listed in the post roll.
hi I wonder if you could tell me where the audio extracts spoken by Wes Anderson himself taken from?
Oh nice! He went to Duke!
Hey I'm doing a school work and I kind of need to know were did the part where wes anderson talks about his longs takes came from. If anyone knows, please respond thiss it's really important.
It's been a while since I made this but check the sources at the end of the video, it should all be there!
All the best, Nick
Thank you for making this. Wes is my fav director and I learned a lot from this video compared to other videos about Wes on YT. Would you recommend any videos about Wes that I should totally watch?
+The Zedd Productions Thanks a ton, Zedd! I usually find that the bonus features on DVD's etc. usually offer a pretty interesting insight into the productions!
Nick Hansbauer Thank you for replying to me! Did you meet him? I'm a little confused about that part.
+The Zedd Productions I wish I had! The footage from this video is a collection of various existing interviews with Robert Yeoman, for the precise titles please refer to the end credits :)
Nick Hansbauer Cool cool!
Great video
Can anyone tell me the difference between a spherical and anamorphic lens and why the studio would tell them no to an anamorphic?
Very simply put, anamorphic lenses capture a wider image, that is squeezed onto the camera sensor and later stretched out again to give a wider image, something we often associate with being "more cinematic". (Oftentimes this will be a 2.35:1 aspect ratio, with those black bars on the top and bottom of the image.) Anamorphic lenses also have a differently shaped bokeh than spherical lenses (oval vs. round) and can produce horizontal lens flares across the image.
The studio most likely didn't let Wes Anderson use anamorphic lenses, as they are often a lot more expensive than spherical lenses. - Another reason could have been that they didn't approve of the look for the picture or for the director, but I'm assuming the main issue was the cost.
He speaks like a very down-to-earth guy.
good work
What song is used in the background ?? Great job on the video!
intro one is These Days by Nico th-cam.com/video/-nGLqXZ-f70/w-d-xo.html
If you have any questions for Robert Yeoman, please comment at the CinePod on Instagram instagram.com/p/CSzTUturDCJ/
Never forget he also shot Dogma and Red Eye
i like the nico soundtrack brah
I have to know where that last scene from Moonrise Kingdom came from!!!!!!!!!!!!!!!!!!!!
Great vid!
im doing a research about wes anderson's style, does anyone know why he use the symmetrical framming? especially in the grand budapest hotel. what do you guys think we trying to do? any journal that i should read?
I believe the symmetry is purely aesthetic. I did read once that Wes never went to film school (think he studied Psychology) and that's why he came up with his own cinematic language / mise en scène by simply doing what felt good for him vs. what a film school would regularly teach. (Namely to not shoot boxed in, flat & square against walls, etc.)
Nick Hansbauer thank you. 😊
@@nickhansbauer Yeah, I think the simple answer is because that's what he likes! Symmetry, wide-angle lenses, moving cameras, and good colour and design - that's Wes Anderson! Oh, yes, and a great sense of humour!
this was great!
Does anyone knows what is that artifact called 2:39??? Please dont tell me viewfinder.
Rayell Abad Guangorena Good question, as a matter of fact, they're commonly referred to as "Director's Viewfinder" (or simply "Director's Finder"). They come in all different shapes and sizes and some have their own zoom lens fixed to it, and on others you can attach your own lenses. Handy tool to let the director or DP quickly look at a shot size without needing to get a camera set up :)
He's also Paul Feig's collaborator. Ya, the movies with an unfunny McCarthy, also the makers of Ghostbusters remake
What film did Yeoman mention at 1:45? If he holds it in such high esteem I feel like I should see it, but I can't understand what he said.
+Daniel Burgess Hi Daniel! Just before 1:45 he mentions 'Fat City' (directed by John Huston, photographed by Conrad L. Hall) and right after 1:45 Yeoman references 'McCabe & Mrs. Miller' (directed by Robert Altman, photographed by Vilmos Zsigmond). Hope that helps :)
+Nick Hansbauer Thank you so much!
+Daniel Burgess No worries man, thanks for watching!
Thank you for the video! 'TS AWSOME ♡♡♡
Aw, thanks for watching (:
What song is this playing in the background?
Lot's of different songs, most of them are from the Grand Budapest Hotel OST. The opening song is "These Days" by Nico.
AtomicBlonde A Summer Song by Chad and Jeremy. If that's the one you're talking about, amazing song.
Needle in the Hay by Elliot Smith
any idea what lenses he uses ? especially in the grand Budapest Hotel?
This American Cinematographer article from March 2014 holds answers to your question. www.theasc.com/ac_magazine/March2014/TheGrandBudapestHotel/page1.php
I also read somewhere else that Yeoman experimented a lot with random vintage lenses he picked up somewhere in Paris but can't verify that information unfortunately.
4:58 Royal Tenenbaums? I dont think so. What scene was that?
Yeah I was confused by that
5:00 tahts not from the royal Tenenbaums
Sorry but, according to the introduction, you imply the DP (and not the director) is the guy who "translates what is in the script to the screen". Not that I'm not aware on most occasions that's the case, keeping in mind the majority of film directors are, to my surprise, not very good at blocking, framing and choreographing the scenes in a movie ... but we're talking about Wes Anderson here.
You can like his style or not (I personally believe it's too derivative of the original collaboration between the Coen Brothers and Barry Sonnenfeld, and that he has kept distilling his own tics and rules until getting an almost, but far from original, style) but I'm sure we agree Wes Anderson has his own voice beyond who takes care of the light.
It only takes to analyze his DP's work with other directors to realize he's not the wizard behind the curtains, Anderson's aesthetics wise.
Anyone know what the music in the background is called?
Depends at what timestamp. Most of the music is just the film score of various Wes Anderson films like e.g. The Grand Budapest Hotel. The opening song is called 'These Days' by Nico.
Does anyone know the typical focal lengths of the lenses of Anderson's films?
+Oscar Uzcategui That's a good question Oscar. From my observations, it appears that Yeoman and Anderson mainly use lenses in the 18mm - 35mm range, with the occasional 50mm thrown in there. I once read that when they shoot animorphic, that they often shoot on a 40mm and when shooting spheric, lean towards a 27mm lens and for the really wide shots they use a 15mm fish eye.
can anyone give me the name of the song in the closing credits? i have been trying to find it for a while. thanks!
It's from the Grand Budapest Hotel OST.
I've seen The Royal Tenenbaums about fifteen times or more, and I have zero recollection of 4:58
+derfanddarf1 it´s actually from one of the commercial ads by wes anderson
+Nielsson nevstang Thanks for pointing it out, Nielsson! :)
4:58 isn't from The Royal Tenenbaums, can anyone tell me what film it's actually from?
Pardon me, that must have snuck in at the wrong place somewhere during the edit! Anyhow, that's a scene from a Stella Artois commercial by Wes Anderson and Roman Coppola! th-cam.com/video/hJ3dtPlD-8Q/w-d-xo.html Hope that helps!
It's no problem at all! In fact I'm glad it found its way in there because now I've found something new to enjoy so thank you very much!! :-)
+Brianna Nicole Haha cheers :) Wes has done some really nice commercials as well, a quick TH-cam search should bring up some results!
I think this is very interesting!
Does anyone know the song that plays through at 0:40? It sounds really relaxing :)
These Days - Nico
Thank you so much :D
No worries!
I’ve never heard of Hotel Chevalier
What does DP mean?
can someone plz tell me what the first song is
Anna Smith nico these days
Sibilance levels over 900
THE FIRST SONG PLSSSSSSSSSSSS?????
These Days by Nico th-cam.com/video/-nGLqXZ-f70/w-d-xo.html
Nice video, but what is wrong with your audio? Your voice is kind of blown.
Rodrigo Poncinelli Thanks a lot for the feedack Rodrigo! I completely agree, it's unfortunate that the audio quality is rather poor. I recorded with a Zoom H4n running directly into a computer via USB and had quite some issues with compression etc. Tried to fix it in the time I had, but it ended up sounding a bit thing and blown :S
Whats the starting song?
These Days by Nico th-cam.com/video/-nGLqXZ-f70/w-d-xo.html
What's in Wes's hand at 2:38?
+Sasha Argirov It's a directors viewfinder.
Double pen?
cool name
Wes Anderson's handwriting
thanks for the video but for god's sake use a de-esser next time man