Wes Anderson is often referred to as an auteur in visual style, known for his carefully centered shots, coordinated color palettes, and lines of symmetry. His films are so distinct that most people familiar with him can tell his work from just a few seconds of a clip. They’re quirky in their own way, blending deadpan acting with whimsical storytelling that gives the impression of a storybook. It’s art—carefully planned and beautifully executed.

The Houston-born director attended the University of Texas at Austin, where he met Owen Wilson, a frequent collaborator in his regular ensemble of actors to this day. Despite obtaining a degree in psychology, Anderson had a passion for screenwriting and co-wrote Bottle Rocket with Wilson. Anderson believed this film would make him known as the next big-time director, but the general public had other plans.

Audiences struggled to find meaning in the film’s characters—a response that was challenging for Anderson and Wilson, who had created the characters as reflections of themselves. Beyond meaning, the quirky style and slow pace resulted in boredom. Viewers left the theater early during trial screenings, while critics hated it and deemed it a stupid movie. James Berardinelli, a Rotten Tomatoes-approved critic, said the film lost “...its focus and its way,” in his contemporary review. The film went on to gross $1,040,879, a fraction of the seven million budget Anderson was given.

Despite the monetary loss, Anderson gained a niche audience, which helped him catch the attention of Joe Roth, the chairman of Walt Disney Pictures at the time. Thus, Anderson’s next film, Rushmore, was set into action.

The coming-of-age comedy follows a young teenager in high school who falls in love with one of his teachers. Actors such as Bill Murray, Brian Cox, and Jason Schwartzman played roles in the film, and acclaimed directors, including Martin Scorsese, praised the film. Rushmore marked the beginning of noticeable symmetrical framing and deadpan humor that Anderson continues to use to this day. It was a critical success, but his breakout film would be his next.

Royal Tenenbaums, released on December 14, 2001, was a box-office success, making four times its budget. Co-written by Anderson and Wilson, the film followed a dysfunctional family of childhood prodigies during adulthood and gave the pair their first Academy Award nomination for “Best Screenplay” at the Oscars. This was the turning point in Anderson’s career.

Anderson would go on to make The Darjeeling Limited and The Life Aquatic with Steve Zissou, two films that received mixed reactions. In need of a change of scenery, Anderson turned to stop-motion animation, something he had never done before. Fantastic Mr. Fox took four years to make, with the first model of the fox taking seven months alone.

Featuring 126 different sets and over 500 puppets, the frames were visually stunning. His use of warm autumn colors gave a nostalgic feel, while his use of center framing awed audiences around the world. Every single shot was crafted to perfection, using minimal CGI and recording dialogue in natural settings to create realism. Fantastic Mr. Fox was another masterpiece, and yet, his two greatest films were just around the corner.

Both of these films captured the peak of the “Wes Anderson Style”. From highly controlled camera movements to popping colors, his films resembled plays. They allowed viewers to step into creative worlds and immerse themselves in a state of visual harmony. The use of symmetry and lines allowed for safety and pleasure, creating a whole new method of filmmaking.

The first of these two films was Moonrise Kingdom. Set on an island in 1965, two 12-year-olds find comfort in one another and run away together, sparking a community-wide search of the island. With themes of youthful rebellion, first love, and depression in underage individuals, the film was not for children. From muted yellows to soft blues, the palette reinforced Anderson's signature storybook and whimsical feel. It was regarded as his best film yet, that is, until the release of his next film one year later.

The Grand Budapest Hotel was a risky project for Anderson. The film featured darker themes and more violent tones, with layers of meaning behind each character. However, it still contained all of Anderson’s typical style, going above and beyond any of his other work. The film took home 4 Oscars, and Anderson won “Best Motion Picture - Musical or Comedy” at the Golden Globes.

Despite Anderson’s success, there is still a divide regarding his work. Critics often argue that he focuses on style, rather than substance. In other words, his attention to visuals costs deeper emotional storytelling. Others say that his work is too repetitive and that his stories are variations of each other, rather than original. But any good piece of art is subjective. Wes Anderson was able to create a style that filmmakers try to replicate in their own work. The once unsuccessful man inspired thousands and found his voice through film.