What did each aspect ratio help convey in the story?
There is so much involved in telling a story. It’s not just the words on the page, but the visual elements that working together on a project brings with it. One of the most interesting directors working today is Wes Anderson. His visuals are incredible – they reflect our world, but also somehow places that cannot be compared with our world. They highlight characters and nostalgia, and strike contrasting tones to bring his visions to life.
Anderson is also an excellent person who really works with an excellent team that shares his vision. To the The Grand Budapest Hotel, Anderson not only wanted to get the story and sets right, but he also spent a lot of time using aspect ratios at the center of the film. He and cameraman Robert Yeoman chose three different aspect ratios to tell the story.
Check out this video from In the deep cine, and let’s talk after the jump.
Let’s examine the three aspect ratios of The Grand Budapest Hotel
The Grand Budapest Hotel was shot 1.33, 1.85 and 2.35. Each ratio was chosen because it was popular in the decade it was set.
“The film jumps through three periods of time; The different aspect ratios tell viewers where they are in the timeline, ”Anderson said in one interview.
To shoot all of this, Yeoman used one Arricam ST with Cooke S4, Varotal, Technovision / Cooke and Angenieux Optimo lenses. The aspect ratios in the film are used as a framework for the stories in the film.
Anderson and Yoman decided to shoot in the 1.37: 1 format, also known as Academy relationship, for scenes from 1932. You have a lot about the work of Ernst Lubitsch and other directors of the time to make sure they were true to their compositions and staging.
Scenes from the modern era were filmed in the standard 1.85: 1 ratio. And the scenes from 1968 were shot in widescreen 2.40: 1 with Technovision Cooke anamorphic lenses.
Is this your favorite time Anderson played with aspect ratio in his work? Let us know in the comments.