Wes Anderson’s number one skill, ahead of even writing, directing, and dressing like the boy prince of Preciouswoodshire, is production design. Even his worst movies (*cough* Darjeeling Limited! *cough, cough*) tend to have a unifying sense of visual design. This succinct supercut (it’s only a minute long) is dedicated to one of the most oft-repeated tenets of Andersonian composition, the center-framed, ceiling-down, above shot. It’s a pleasure to watch, and helps explain why I can’t help but love Wes Anderson, even at his twee-est, most ascot-y ponciness. I imagine a Wes Anderson/Quentin Tarantino collaboration would involve some characters looking down into a trunk, followed by an annotated above shot of them carefully placing bodies into it.
I only hope that one day, there’s enough material for a Shirtless-Bill-Murray-holding-an-axe-and-a-bottle-of-wine supercut.