{"id":151,"date":"2024-09-11T18:17:36","date_gmt":"2024-09-11T18:17:36","guid":{"rendered":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/?p=151"},"modified":"2024-09-12T17:38:26","modified_gmt":"2024-09-12T17:38:26","slug":"wes-andersons-inspiration-and-intentions-for-the-grand-budapest-hotel","status":"publish","type":"post","link":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/2024\/09\/11\/wes-andersons-inspiration-and-intentions-for-the-grand-budapest-hotel\/","title":{"rendered":"Wes Anderson’s Inspiration and Intentions for The Grand Budapest Hotel"},"content":{"rendered":"\n

After watching The Grand Budapest Hotel<\/em>, I wanted to know more about Wes Anderson\u2019s inspiration for the movie and more insight from him about the movie. I found an interview that Anderson did with Lily Rothman from Time<\/em> Magazine after the release of the movie in 2014. In this interview Anderson discusses the inspiration for the film, the time period the movie is set in, and the making of the film. When discussing his inspiration Anderson brings up different movies from the 1930\u2019s that he took inspiration from. He said he watched movies from directors like Hitchcock, Frank Borzange,  that were set in Eastern Europe and often directed by people from Berlin, Warsaw, or Odessa and often stole things from these movies \u201cpretty liberally\u201d (Rothman). I found this interesting because the viewer can see where he took inspiration from these 30s movies in the aspect ratio and also the bright colors which seem to mimic technicolor. <\/p>\n\n\n\n

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Figure 1: Aspect ratio for the film during the 1930s <\/em><\/p>\n\n\n\n

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Figure 2: Brightly colored elevator and costumes<\/em><\/p>\n\n\n\n

Wes Anderson, also mentioned in this interview, that he wanted to present a sense of nostalgia in the film. He talked about visiting old places and how they can be disappointing because they have worsened from their prime (Rothman). I think this explains why everything in the film seems a bit fantastical. All the colors are so bright and everything seems very stylized. It mirrors the nostalgia that Moustafa feels when telling the story. <\/p>\n\n\n\n

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Figure 3: The Grand Budapest Hotel in the 1930s<\/em><\/p>\n\n\n\n

Something that was unusual about this interview was that Anderson said that he focused more on making an experience and less about an explanation or meaning (Rothman). I feel like usually directors and writers make films that have an underlying meaning or to make a statement, so it\u2019s interesting to hear from someone who focuses more on the viewer’s experience. And I thought that you could feel that throughout the film. All the film elements combined, like the interesting camera angles, fast camera movements, bright colors, and comical moments contribute to an immersive experience. <\/p>\n\n\n\n

Overall, this interview, although short, provided much insight into Wes Anderson\u2019s inspiration behind the film and his intentions with it. It explained the purpose behind his use of certain unique techniques and how he went about making the film. <\/p>\n\n\n\n

Interview: https:\/\/time.com\/3661703\/wes-anderson-grand-budapest-hotel\/<\/a><\/p>\n\n\n\n

Rothman, L. (2014, February 28). Wes Anderson on \u2018The Grand Budapest Hotel,\u2019 Nostalgia and Standing-Still Tennis.\u00a0TIME<\/em>.\u00a0https:\/\/time.com\/3661703\/wes-anderson-grand-budapest-hotel\/<\/p>\n","protected":false},"excerpt":{"rendered":"

After watching The Grand Budapest Hotel, I wanted to know more about Wes Anderson\u2019s inspiration for the movie and more insight from him about the movie. I found an interview that Anderson did with Lily Rothman from Time Magazine after the release of the movie in 2014. In this interview Anderson discusses the inspiration for […]<\/p>\n","protected":false},"author":9243,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7,14],"tags":[],"class_list":["post-151","post","type-post","status-publish","format-standard","hentry","category-searcher","category-week-3-9-10-9-12-mise-en-scene"],"_links":{"self":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/posts\/151","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/users\/9243"}],"replies":[{"embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/comments?post=151"}],"version-history":[{"count":1,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/posts\/151\/revisions"}],"predecessor-version":[{"id":162,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/posts\/151\/revisions\/162"}],"wp:attachment":[{"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/media?parent=151"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/categories?post=151"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/scholarblogs.emory.edu\/introtofilm2024\/wp-json\/wp\/v2\/tags?post=151"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}