Wes Anderson's love of symmetry is no secret.
Usually, the discussion is focused on his symmetrical framing.
But Anderson also uses symmetry in his editing.
Today, we're going to focus on 3 techniques
Anderson uses to edit his shot sizes, blocking and timing.
This is "Wes Anderson's Symmetrical Editing".
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Overall Addison's filmmaking is more stylized than it is naturalistic.
Especially in his later work.
From the performances in dialogue.
"- I don't know what sort of cream they've put
on your down at the morgue, but I want some."
- To the camera movement and production design.
Anderson loves the symmetrical frame.
But there's also a symmetry to the way he edits these shots together.
"- What you're talking about?"
- Instead of a mirror image between the left and right side of the image,
we get identical compositions.
Repeated blocking and staging.
Or uniform shot lengths.
Is this just an aesthetic choice or is something else at work?
Let's start with Shot Types.
Shot reverse shot is a very common technique in dialogue scenes.
We see one side of the conversation
followed by a complimentary angle of the other side.
Anderson uses this technique as well, but he takes it a little further.
"- Are you listening to me?"
In some cases, instead of staging the camera at an angle,
he'll shoot the subject straight on.
So when he cuts to a nearly identical reverse...
...the composition and framing are aligned.
This technique draws our attention to the relationships between the characters
who might be in love
or at odds.
"- It's not for sale.
- Yes, it is.
- No, it isn't. - Yes, it is.
- No, it is. - Yes, it is.
Yes, it is.
All artists sell all their work.
It what makes you an artist. Selling it."
- In this sequence from "The Royal Tenenbaums",
symmetrical shot types highlight both the similarities
and differences of the characters connected by one event.
"- Yeah, well, now he's really dying.
- Ready. - Print it.
- I'm very sorry, Margo.
- That's okay.
We're not actually related, anyway."
- The identical compositions allow us to compare
and contrast their varying personalities
through the dramatically different production design surrounding them.
"- True."
- Instead of perfect alignment, Anderson will also pair complementary compositions.
But this strategy doesn't have to focus on just characters.
We can also find symmetrical compositions in Anderson's signature overhead inserts.
Anderson and his editors will also create patterns of shots as well.
In this sequence, we get an identical pattern of three shots.
"- Get me Monsieur Georges at the Château Luxe, please."
- A hotel key.
"- Happy birthday..."
- The concierge is pulled away.
"- Take over.
- Happy birthday, dear...
- Hello, Ivan?"
- To the front desk.
"- Got it."
And then the pattern repeats.
But symmetrical editing isn't only relegated to shot types and compositions.
Wes Anderson will often cut between symmetrical blocking and staging,
creating mini patterns between how the characters and/or the camera moves.
Here symmetry represents a common goal.
"- Were you followed?
- I doubt it. - Good.
- Is that a cat in there?"
- Sam and Susie are visibly in sync with each other.
"- Can you read a map? - Uh-huh.
- I do cartography.
I feel we should go halfway today, and halfway tomorrow
since you're a less experienced hiker,
and you're wearing Sunday school shoes.
- They're not really Sunday school shoes.
- Here. - Oh, thank you."
- Both the blocking and staging are practically mirror images.
"- On three!
- One, two, three!"
- The technique is perhaps best displayed in "The Grand Budapest Hotel".
"- Come outside, please.
- Now, wait a minute. Sit down, Zero.
His papers are in order. I cross-referenced them myself
with the Bureau of Labor and Servitude.
You can't arrest him simply because he's a bloody immigrant.
He hasn't done anything wrong."
- This back and forth cutting on their eyes, builds both tension and comedy.
"- Stop it."
- We see these characters are sharing this experience, beat for beat.
"- Take your hands off my Lobby Boy!"
- Through symmetrical blocking and staging,
Anderson reinforces an important bond between two characters.
Symmetrical action also creates a strong rhythm.
Just like Anderson's next technique.
Anderson will often use this idea of symmetry
in the rhythm and timing of the shots.
In some cases, he would cut from shot to shot at nearly identical intervals.
Or he will match shots together with the exact same length.
In both scenarios, it creates a distinct sense of rhythm.
"- Was she upset?
- I don't think so.
- What'd she say? - She nodded.
- What did you say?"
- This is most evident when used in conversation
to emphasize the unique lilt of Anderson's
dialogue, which is often snappy and to the point.
According to editor Andrew Weisblum,
Anderson's dialogue is very rhythmic and it has a very specific musicality to it.
And so the timing of the edits work in combination with the dialogue
to create this tight and controlled pacing.
"- Jump. - Where?
- Here. - When?
- Now. - Why?
- What? - Let's take a moment."
Using symmetrical timing can also make a plan,
seem like clockwork down to the frame.
The first three watch inserts are exactly the same length
as are these three shots from "Isle of Dogs".
In the opening credits of "The Royal Tenenbaums",
each character's title card is exactly 160 frames with two exceptions.
The first one for Royal is two frames longer.
And the final shot of Richie is extended to over double at length.
But can you guess how many frames we get until his name disappears?
That's right.
160 frames.
These techniques aren't always used in isolation.
Here's a scene that combines all of these techniques.
See if you can spot them.
Symmetrical shot sizes.
Blocking and staging.
Compositions.
And timing. All in one scene.
Wes Anderson's editing symmetry goes beyond a simple aesthetic choice.
It's a way to create connection,
rhythm,
comedy,
and tension.
To reach this degree of precision,
Wes Anderson does extensive preparation.
If you're looking for a similar level of artistic control,
start planning your shots with StudioBinders storyboard software.
What other types of symmetry do you see in Anderson's work?
Tell us in the comments.
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