Inspired by the American magazine "The New Yorker", director Wes Anderson directed the new work "French Dispatch Weekly". The story is set in a fictitious town in France in the 20th century. Through the story structure of four chapters, it tells about the employees of the newspaper and the content of the report. The anecdote can be described as "a love letter to reporters". This article will introduce the retro and soft image aesthetics, ingenious set design, and bold and charming editing style of the
"French Dispatch Weekly", and popular database see how the crew expresses its beauty and creativity, so that the audience is fascinated by the delicate and humorous character stories, and once again shows its power The stunning charm of style aesthetics. AP_80503455181 Photo Credit: AP/Dazhi Image Wes Anderson Old-school down-to-earth photography techniques, the texture of the negative creates a retro aesthetic "Every time the director describes the look of that shot, I think 'what am I going to do?' or 'how is that possible?', but that's an important part of working with him, and we all succeed in the end." ──
Director of Photography Robert D. Yeoman According to the reference list provided by the director, the director of photography, Robert D. Yeoman, decided to imitate a large number of French new wave films this time, and used the traditional academy ratio of 1.37 in "Welcome to the Grand Budapest Hotel", trying to use the quality of the negative to awaken the audience's appreciation of the old film. Memories, but at certain moments, it was deliberately shot with an anamorphic lens ratio of 2.39, Yeoman explained: “It was mainly to create some bold dramatic presentations.”