A breakdown of Wes Anderson editing techniques — specifically how Wes Anderson uses symmetry between shot types, compositions, blocking & staging, and timing & pacing.

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Chapters:
00:00 - Symmetry in Wes Anderson Movies
00:51 - Technique 1 - Shot Types
02:10 - Technique 2 - Blocking & Staging
04:29 - Technique 3 - Rhythm & Timing
07:42 - Wrap Up / Takeaways

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Wes Anderson's Symmetry Explained

Symmetry in Wes Anderson movies is no secret but this is not your typical Wes Anderson symmetry video. Anyone who watches Wes Anderson movies (particularly his later work) can see immediately that he loves a symmetrical frame. But Wes Anderson symmetry goes well beyond simple framing — he also edits symmetrically. In this breakdown, we explore how Wes Anderson uses symmetry in movies in his shot types, compositions, blocking & staging, and the timing & pacing.

Symmetry in Wes Anderson Movies

As we’ve seen, Anderson’s frames are highly composed and often center-framed. And when he cuts between these equally centered frames, it creates a strong visual rhythm that keeps the audience focused on the characters and his snappy dialogue. The connection this symmetrical editing creates can be used for characters in love or characters at odds. Sometimes, instead of mirror-image shots edited back to back, Anderson will edit between complementary compositions to create a similar connection.

Anderson will also match the blocking and staging from one shot to the next. For example, Suzy and Sam in Moonrise Kingdom are often shot and edited using these symmetrical editing techniques. Consider the scene in which they jump into the lake from opposite directions. Each shot of them alternates between nearly identical blocking and staging, suggesting just how in sync these young romantics are.

Finally, we can also see a major element of Wes Anderson editing techniques in the timing of each shot. In some cases, the editing is timed to deliver Anderson’s punchy dialogue quickly and sharply with nearly identical shot lengths. In other cases, however, like the opening credits in The Royal Tenenbaums, Anderson and his editor Dylan Tichenor cut each character’s title card at the very same length, down to the frame.

The symmetry in Wes Anderson movies is superficially just an aesthetic choice. But when you consider how the symmetrical editing factors in, you can see (and feel) the specific and precise rhythm of Anderson’s work.


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"Let Me Tell You About My Boat" - Mark Mothersbaugh
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"Le Temps de l'amour" - Françoise Hardy
"L’Ultima Volta" - Ennio Morricone
"I'm Dying" - Mark Mothersbaugh
"Heroes and Villains (Instrumental)" - The Beach Boys
"The Society of the Crossed Keys" - Alexandre Desplat
"Tu m'as trop menti" - Chantal Goya
"Daylight Express to Lutz" - Alexandre Desplat
"The Lutz Police Militia" - Alexandre Desplat
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"Sushi Scene" - Alexandre Desplat
"A Dash of Salt (Ludwig's Theme)" - Alexandre Desplat
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"This Time Tomorrow (Instrumental)" - The Kinks

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