Wes Anderson Likes the Color Red (and Yellow)

Red seems to be a mag­net for angry bulls and great direc­tors. After all, it’s the col­or that seems to stand out more than any oth­er. Yasu­jiro Ozu, for one, made the jump to col­or movies very reluc­tant­ly late in his career and prompt­ly became obsessed with the col­or red. His pro­duc­tion team kept a box on set of small red house­hold things – a match­box, an umbrel­la, a teaket­tle — which he used to place in the back­ground of just about every shot. Jean-Luc Godard famous­ly bathed Brigitte Bardot’s back­side in red light for his first col­or film Con­tempt. When crit­ics com­plained that his fea­ture, Pier­rot le Fou, was too bloody, he quipped, “It’s not blood, it’s red.” And from HAL 9000’s unfor­giv­ing elec­tron­ic eye in 2001 to the buck­ets of blood pour­ing out of the ele­va­tor from hell in The Shin­ing, Stan­ley Kubrick built some of his most mem­o­rable scenes around the col­or red.

Edi­tor and design­er Rishi Kane­r­ia, who seems to be mak­ing a career out of point­ing out the col­or choic­es of auteurs, has just released a video called “Red & Yel­low: A Wes Ander­son Super­cut” that square­ly places Wes Ander­son among the ranks of cinema’s great crim­son-lov­ing styl­ists – from Ben Stiller’s sweats in The Roy­al Tenen­baums to the lux­u­ri­ous car­pets of his lat­est effort The Grand Budapest Hotel. As you might gath­er from the title of Kaneria’s short, Ander­son is also a fan of the col­or yel­low too. You can watch the video above. And you can watch Kaneria’s look into Kubrick’s use of red below.

Relat­ed Con­tent:

What’s the Big Deal About Wes Anderson’s The Grand Budapest Hotel? Matt Zoller Seitz’s Video Essay Explains

The Per­fect Sym­me­try of Wes Anderson’s Movies

A Glimpse Into How Wes Ander­son Cre­ative­ly Remixes/Recycles Scenes in His Dif­fer­ent Films

Watch Wes Anderson’s Charm­ing New Short Film, Castel­lo Cav­al­can­ti, Star­ring Jason Schwartz­man

Wes Anderson’s First Short Film: The Black-and-White, Jazz-Scored Bot­tle Rock­et (1992)

Jonathan Crow is a Los Ange­les-based writer and film­mak­er whose work has appeared in Yahoo!, The Hol­ly­wood Reporter, and oth­er pub­li­ca­tions. You can fol­low him at @jonccrow. And check out his blog Veep­to­pus, fea­tur­ing lots of pic­tures of bad­gers and even more pic­tures of vice pres­i­dents with octo­pus­es on their heads.  The Veep­to­pus store is here.

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