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6 de jul. de 2018 · The Nostalgic Color Palette Inspired by Moonrise Kingdom. Set in the 60s, the homes in Moonrise Kingdom do not shy away from using warm colors like yellow, red, or orange. It is as if the director hates white or gray walls.
11 de jul. de 2016 · Under a Yellow Moon: Shades of Color in Wes Anderson’s Moonrise Kingdom. By H. Perry Horton · Published on July 11th, 2016. Every Wes Anderson film is a panoply of color, a rich mixture of...
20 de jul. de 2014 · My stills showing Sam’s painting and the extreme long shots of the shore can’t do justice to the originals; I tried bigger proportions, but the MOONRISE KINGDOM inscription remains hard to see. I have to assume that most readers have seen the movie, or will. The image below will have to do.
6 de nov. de 2023 · The film Moonrise Kingdom by Wes Anderson uses yellow and blue, representing good and bad respectively and signifying how children see the world –simple and complex, hopeful and helpless, yellow and blue, and no gray areas. You can genuinely grasp a movie’s core when you delve into its color palettes.
1 de may. de 2014 · The muted pink of The Grand Budapest Hotel that makes the hotel itself the biggest character in the movie; the very particular French mustard that comes to define Gwyneth Paltrow’s Margot Tenenbaum in The Royal Tenenbaums; the vintage boy-scout green in Moonrise Kingdom – all of these hues are captured in the Wes Anderson Colour Palettes ...
Moonrise Kingdom is a 2012 American coming-of-age comedy-drama film directed by Wes Anderson, written by Anderson and Roman Coppola, and starring Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, Jason Schwartzman, Bob Balaban, and introducing Jared Gilman and Kara Hayward.
27 de feb. de 2013 · Adam had worked with Wes on “Darjeeling Express” and a few commercials as an art director. When Adam let me know he was going to work on “Moonrise” as production designer, I let him know I was interested in art directing. On the set of Bishop family house. Photography by Niko Tavernise, courtesy of Gerald Sullivan.
