The Interiors of Wes Anderson

Design Bible Apartamento Roams Through the World of the Hollywood Auteur

“You could compare Wes Anderson to an interior decorator,” says Apartamento’s Editor-in-Chief Marco Velardi of today’s enchanting series, taken from the bi-annual title’s latest issue. With the director and screenwriter’s private house strictly off limits, the magazine traces the meticulously considered art of set design in his filmography: miniature brownstone apartments, nostalgic color schemes and embroidered and elaborate costumes. “I always say that a picture of someone’s home tells you a lot more about that person than any portrait possibly can,” muses Nacho Alegre, director and co-founder of Apartamento. “I imagine in a movie the time you have to describe a character is limited, so using the interiors to do so probably becomes something of a necessity.” An intricate visual language has become Anderson’s trademark; in his hands, set design becomes both a storytelling device and character trope, from his shot-on-a-shoestring debut, Bottle Rocket, to his latest saccharine fantasia, The Grand Budapest Hotel. Velardi adds: “Ultimately, if you look at his work there are a lot of interiors, with very peculiar and very precise work on the spaces and what people wear; Wes is passionate about every single detail, and that’s why it’s fascinating for us.” 

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Conversations (4)

  • Drop.Anchors
    The full interview in Apartamento is really great. Highly recommend it.
  • Mozartmike
    From top to bottom always fun
  • Liontroll
    Roar.. Classic but Dated Dated but not classic ...not nowness Sorry Wes
  • Katrin Ne
    Who is responsible for his interiors? I mean among designers?

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  • ON REPLAY
    ON REPLAY

    Alejandro Jodorowsky: The Dance of Reality

    The Magical Realist Director Returns with His First Film in 23 Years

    Cult filmmaker, comic book author and master of tarot, Alejandro Jodorowsky traveled back to to his hometown of Tocopilla, Chile to conjure up his absurdist vision, The Dance of Reality, more than two decades after his previous film The Rainbow Thief. “I hope to show a picture made with soul—my soul,” says the influential director of the autobiographical movie excerpted here. Jodorowsky’s sprawling, avant-garde filmography spans almost 50 years and includes the infamous 1973 epic The Holy Mountain, which was part financed by John Lennon and Yoko Ono. His latest darkly comic tale revisits moments from his childhood—his father’s domestic abuse and his mother’s lifelong unfulfilled dream of being an opera singer—with a poeticism that is allied with weirder moments such as the dog fancy dress competition scene premiered in today’s clip. He cast three of his sons and his wife, the French painter Pascale Montandon-Jodorowsky, in prominent roles. “It was a psychological explosion,” says the 85-year-old provocateur, who now resides in Paris. “My son Brontis plays my father and Adan plays the romantic anarchist. Cristobal plays Theosopher, my master; every son dreams to be the master of his father. And my wife Pascale makes the costumes, giving color to a life that was grey from the beginning. The past can be changed and this is what is important.”

    The Dance of Reality is in cinemas from May 23.

    (Read More)
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    Ill-Studio: Twisted Objects

    The Parisian Collective Shares Its Irreverent Ode to Design

    “It is about our fetishistic perception of pop culture as art directors,” says the visually-obsessed Ill-Studio of their new film, Twisted Objects, and Parisian exhibition Fetishistic Scopophilia. “The distorted way we look at everything that surrounds us through the prism of design.” While today’s animation warps obsolete, generic ephemera, the creative company––made up of Thomas Subreville, Léonard Vernhet and Pierre Dixsaut––also created giant computer desktop installations for their show at 12Mail gallery and takeover of Colette. For artists who have collaborated with Louis Vuitton, Christophe Lemaire and Supreme, Ill-Studio’s fascination with both low and high culture is indicative of their aesthetic. “We first noticed the pleasure in objects way before we started designing,” say the Parisians, who self-published a skateboarding-inspired collection of essays and artwork entitled Neapolis, featuring contributions from Rick Owens and Jerry Hsu, among others. “This unconscious pleasure is definitely a fetishism,” say the partners. “Being able to understand why you like, or don’t like, the shape, the material or the color of an object came way later.”

    Fetishistic Scopophilia runs until February 1 at Colette and March 14 at 12Mail

    (Read More)

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