This paper is a deep exploration of the cinematic world, focusing primarily on film directors, their styles and trademarks. This research paper endeavors to give a better understanding of the film world by answering a three part question: How does a film director develop his style and use trademarks to portray or affect viewers to his liking, using tools of film such as music, camera angles, post production, and the like; What are the elements that make up a film director’s style and what makes an individual’s style palpable and immediately evident? And finally, how does the director use his style and trademarks to tell the story and affect the viewer in keeping with his/her interpretation? This paper aims to answer these questions by comparing and contrasting different film directors styles and
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Hal (2001: A Space Odyssey, 1968). 2001. 10 Monumental Fight Scenes in SciFi, n.p. Comp. Furious Fanboys.
“The scene in which Bowman disconnects HAL (the computer). There is no montage here, no time-compressing cutting techniques: instead, Kubrick shows us Bowman disconnecting the computer one module at a time, with absolutely no shortcuts to make the scene more palatable” (LAvideoFilmmaker). Another example is Wes Anderson's color palettes. As Laura Havlin writes, Wes Anderson's conjured fictional worlds possess such exact colouration.
“The very particular pastel-hues that paint the skies, drench the buildings and dress the characters, render Anderson’s microcosms almost dream-like. The hazy-hued lens through which we peer into the director’s unique world has a retro quality that casts his films in a nostalgia for a time that could have been” (Havlin 1). We can observe his uses of colour palettes through visual examples of scenes from his
Hal (2001: A Space Odyssey, 1968). 2001. 10 Monumental Fight Scenes in SciFi, n.p. Comp. Furious Fanboys.
“The scene in which Bowman disconnects HAL (the computer). There is no montage here, no time-compressing cutting techniques: instead, Kubrick shows us Bowman disconnecting the computer one module at a time, with absolutely no shortcuts to make the scene more palatable” (LAvideoFilmmaker). Another example is Wes Anderson's color palettes. As Laura Havlin writes, Wes Anderson's conjured fictional worlds possess such exact colouration.
“The very particular pastel-hues that paint the skies, drench the buildings and dress the characters, render Anderson’s microcosms almost dream-like. The hazy-hued lens through which we peer into the director’s unique world has a retro quality that casts his films in a nostalgia for a time that could have been” (Havlin 1). We can observe his uses of colour palettes through visual examples of scenes from his