Fall 2024 | Watch with Purpose #3: The Grand Budapest Hotel

[adgarza8]

Adrian Garza

Act 1


medium shot, low angle, clean single ~30mm that features the framing of a very important plot point without really establishing what makes it so important till much later on, the director framed this shot by having the image on the menu be almost the sole focus of the shot, allowing the audience to take note of the image for later. The rest of the scene is just very clean and organized, with a small variety of colors makes this set feel very fancy. The layout of the lines and shapes all converge on this center point to help draw attention to the importance of the prop and the character.

Act 2



medium close up shot, low angle, crowd shot ~40-50mm that has a very nice frame within a frame along with having very neat set dressing specifically with the cactus right in the middle sitting and basking in the light creating a very interesting contrast and silhouette which aids the shot in drawing the attention to the two characters in the other room which becomes yet another plot point later. Even if one does not know the context for this shot the way the characters are framed and position to where the lobby boy is leaning forward looking upwards at Gustave while Gustave is leaning a little farther on the screen and looking more straight than down or up at the lobby boy. Aside from this we have a change in the aspect ratio which continues to close the frame together to keep everything very close and purposeful.




Medium shot, low angle, crowd shot. ~40mm With yet another smaller aspect ratio keeping everything feeling packed and focused. Which aids in allowing these scenes to feel tense by having our attention being narrowed. This shot is one of many that follows this movie's trend of having characters being placed directly in the center of the frame. While this shot doesn't have important details placed on the rule of thirds hot spots, it still keeps our character placed on the horizontal lines of the rule of thirds, allowing this shot to be aesthetically pleasing. While also separating the two types of characters. Ones placed on the left are ones we end up being invested in despite being criminals while the guards and police are supposed to be seen as a form of safety and justice are typically seen as the "bad guys" of this movie and thus are placed on the right side of the screen.





Insert shot, high angle. ~30mm A very lovely shot that is incredibly dark and mysterious as the only information we're given visually is the set dressing that are all signs of what this person is and what he will do. By this point in the movie we're already aware that this person is obviously our killer. But the simplicity of how the set dressing is laid out that is so obviously evil just adds to the taste of it. The low light, the objects not being placed neatly at all, yet still having our main object of focus being centered just like several other shots.



Cowboy shot, low angle, clean single. ~60mm This shot is part of a scene that is composed of several similar shots from this one. As per most of the shots, the aspect ratio has been closed in yet again; however, we get an interesting spotlight on this new character which is unique to this scene and serves as a sort of disconnect that reminds us that the scenes/hotels that these series of characters are from are less important and helps us focus in specifically on the character's performance and importance to the plot of our main characters. Again, centered main focus while having frame within a frame and having shapes that compliment each other that allow our middle subject to stand out and break up that pattern.

Act 3




Wide shot, eye level, clean double. ~40mm lens. This shot brings us back to a wider aspect ratio which also brings us back to the present. Our characters are still sitting at the table where they first begun recalling the past yet the scene is devoid of any background characters and has had its lighting dimmed while also continuing to have lovely cleanliness and organization. Continuing the trend of this movie yet again, our characters are placed directly in the center on the lower horizontal line of the rule of thirds. keeping a wide lends to have our characters be separated enough from the background.



Cowboy shot, high angle, clean double ~50 mm. Keeping the larger aspect ratio, centered subject, and wonderful shapes and lines leading towards the center has this shot aligned beautifully while also giving an immense amount of focus to the painting in the center for being tilted which helps further bring attention to it, which also gives it the charm of perhaps being forgotten and unkempt which is very unlike how the hotel has been arranged thus far to further emphasize how long this portrait has been there and how seemingly unimportant it must be to some people since it wasn't tended to properly. But the characters truly know of its importance and it is later fixed in this same scene.

[EvelyT]

Evely Torres


Shot 1:
This is a wide shot taken at around eyelevel (it appears just slightly below perhaps because he is sitting). It is a clean single, though the face of our character is partially obscured. The focal length appears on the lower end around 25 mm as the environment starts to appear as if it is beginning to wrap around at the edges of the frame, and the f number seems around f-10 as the environment is clear and deeper parts through the window can be seen without excessive blur. He is framed inside of the left and right third with his eyes meeting the top third of the frame, and the window acts as more of a framing device to place slightly more emphasis on his character. These choices together stand to show that the world beyond is not of importance while in the hotel, that despite whatever background someone may hold, while in the hotel they begin to become part of the hotel. This is further helped by the framing that the rectangular window provides, working as a portal between the world and the hotel to further create separation. As for the colors, everything is a neutral brown, and the character who is also dressed in brown starts to blend more with his environment, meaning that he doesn't stand out too much and that there is nothing too notable about him on his own. Brown seems like a stable color, in addition to the straight lines and rigid rectangular shapes within the environment, showing that in comparison to the other character of the hotel he is more of a straight man that isn't eccentric on his own. If it weren't for the window helping to make him stand out, the character would almost completely blend into the environment. In addition, the wide angle makes him around the same size as the furniture around him, further helping him blend into the background.


Shot 2:
While this is technically a three shot as the chef's face also appears in frame, it is almost like a dirty two shot as the emphasis lies on M. Gustave and Zero. This is also a medium wide shot arguably as both Zero and the chef have their full torsos within frame if they were to hypothetically pull out a weapon, and it's to show the environment as well with a focal length around 25-30 mm as there is again a slight warping at the ends. This is taken at around eye level, and they are within the left and right third, framed by the small window to help them stand out, but also to make them appear small within the scope of the scene. They are surrounded by the straight lines around the scenery, from the wall texture to the way the kitchen tools lay, as well as all the rectangles of the clipboards, window, and papers in the back. This serves to show that they are in an environment that is very rigid, yet not in an orderly way. They are currently in what is considered a hostile environment, so the rigidness could be in the thinking of the the other characters as they refuse to open their minds to accepting M. Gustave and would rather stick to the ways they know. They are also ironically dressed in purple against a sterile white and beige environment, and while purple is meant to be a color of royalty, they have been treated as anything but. This means that the royalty of the purple is more of an act that M. Gustave and Zero are putting up, when in reality they are small and insignificant beyond their realm of comfort. This is further emphasized by the window framing that makes them appear small, as well as but the fact that there is hardly blur on the environment which means that they aren't even more important than the environment surrounding them. A small detail that could almost be overlooked is the cactus that is placed with M. Gustave and Zero, which could be representative of the prickly situation that they've found themself in, however it is a plant resistant to harsh heat conditions, representing that they will be resilient of the hot water they find themselves in currently.


Shot 3:
This is a wide shot taken at a high angle looking down, creating a downward sloping view in the scene. This appears to be at a longer focal length, perhaps around 130 mm with an f number around f12 as there is a deep depth of field that makes everything in the frame appear clear and visible. While no visible subject, the shadow at the very bottom creates an area of interest, and lack of subject in this one frame by itself creates an air of mystery yet panic. The scene is very dark though not completely black as the shadows in the environment create a blue softness to the beige surroundings, however this is in contrast to the looming black shadow of the mysterious figure. These elements serve to create a sense of panic and anxiety, and within the context we know this is because Kovacs is being pursued to be killed. The clearness of the frame represents someone in a moment of anxiety, where every detail is clear because you are on edge and need to be hyper alert of your surroundings. The downward slope of the frame shows that the killing will be inevitable, which adds to the sense of panic as despite the best efforts made, we can feel that there is no escaping the current situation so all that is left to do is run and cower until the final moments. As mentioned earlier, while the shadows of the environment are tinted blue and typically would indicate serenity, they instead serve to emphasize the black shadow of the figure at the bottom, which makes it appear much more evil and dangerous. The bright white light it is emerging from further emphasizes this contrast and adds to stretch it out and make it appear much larger. In an environment that is as a whole meant to be serene and beautiful, it is entirely contradictory to the situation which also adds to the anxiety as what is meant to be familiar and safe has been compromised by a "monster'. The almost emptiness of the scene other than the artwork also adds to the feeling of inevitability as there is nothing standing between Kovacs and his inevitable doom, it is a clear path.


Shot 4:
This is another wide two shot shot taken at around a 30 mm focal length with a semi deep depth of field with slight blurring at around f-9, and it is taken at a slight low angle looking upwards. M. Gustave and Zero are framed within the left and right third at the center, yet they also appear at the lower third of the frame to appear smaller. This framing serves to show, that at least within the realm of the painting before them, they are meant to be before it and belong there, emphasizing within context that it is their rightful possession. While on the surface their outfits and the purple make them appear out of place from the environment, which would make sense as they are in a hostile environment, arguably this further emphasizes their need to be there and belong. The room is brown, which is technically a shade of orange which is complimentary to purple (at least their shade of purple, although many argue the compliment is yellow), making them fit within the environment among the other elements that harmonize them there. Within the frame they appear quite small, and while the painting is the same size if not smaller, this leads to two meanings. Their smallness shows how they are out of their element and will have big looming issues to come, but it also adds to the grandeur of the painting as they are looking upwards toward it. However, this also makes the painting more theirs at it is their same size, and respectively it is also overshadowed by the environment but together they can truly appreciate each others presence. All the lighting is motivated and realistically belongs within the frame, yet it's still working to create an air of serenity between the painting and the pair, again showing that they belong together as that is the one moment of calm to be found in the hostile environment.


Shot 5:
This is a medium close shot as well as a two shot taken with a longer lens around 100m as they almost collapse into the background. There is also an f number around f-6 to provide blurring for the background, and a shutter speed around 1/30 to provide for slight motion blur. This shot is interesting as, in comparison to these other shots, M. Gustave and Zero finally appear as the full emphasis of the frame with the background being blurred rather than remain in focus. This shows that it is THEIR moment, they are at their peak and this is all about them right now. In addition, they have changed costumes, dropping the purple royal facade that they were putting on and showing their true will and grit. While not sporting bright colors and actually having dull grey colors, they don't blend into the frame and actually stand out on their own rather than being supplemented by framing elements. They, however, are still framed withing the left and right third, again giving them an extra emphasis as the focus of the frame. This is set at eye level, which makes it a more intimate moment between them and the audience as we are looking into their eyes, and we can fully see the determined expressions and true selves of the characters. The lines and stripe pattern on Zero's shirt could represent that he has found his own footing and stability rather than always relying on others and following, now he is at the head of the motorcycle and is taking charge of the situation. While the lighting is all washed out and has no discernable start, it almost serves as a halo to the characters, making them appear righteous. In context, this is also a pseudo tracking shot, further adding emphasis to the main two.


Shot 6:
This is a long shot taken at around 135 mm to create this long narrow hallway environment. In frame it is a clean single, but in context we know that Agatha is being dangerously pursued. This context serves to aid the single shot in feeling as if Agatha is a small prey being singled out by a predator, adding overall anxiety and dread. In context this is also a tracking shot, which adds a looming feeling of being followed and being helpless to do anything or escape. The shot is also taken from a high angle looking down, further making her appear small and feeble and unable to defend herself. While the scene is technically pink, the darker floor as a whole makes the entire hallway appear more red, which adds a feeling of danger especially in a claustrophobic hallway with little escape. The lights overhead at certain angles also almost appear to form arrows pointing down at her, further giving her away and leaving her no room to hide away. In addition instead of any light acting as a guide for her, they act to spread the red in the scene and make it easier for her to be spotted by the predator. The rectangular shaped and rigid lines in the scene don't represent stability or safety at all, instead creating a cage of sorts that she is trapped within. The lack of scene decor stands out as typical hotels will have side tables or chairs out along hallways such as this, however the lack further places her in a position where she is exposed and alone and can't hide or blend in. While her beige/pink coat should in theory help her blend in to the surroundings, when considering contrasts of colors (and turning the image black and white) she is one of the darkest objects in the scene, making her easy to spot.


Shot 7:
This is wide shot at about 50mm taken at at extreme high angle, and it is also a crowd shot. These settings serve to show how small the crowd really is, which in the larger picture upturns the entire film. The main storyline of the entire film was centered around one event, but as portrayed here it ends up being just a small event in the grand scheme of things. That is to say that while this event was very important and was an entire journey for the characters in the film, when stepping back and looking at the rest of the world, it really was just a blip in time and doesn't fully have a greater importance to the world as a whole. While it seemed that the whole world (from the audience perspective) was involved as every single character on screen had something to do with it, it truly was only about a handful of people involved, which puts everything into perspective. In addition, they are all dressed in dull colors, which causes them to almost blend in with the darker surroundings as they are neither in most contrast or most brightness in comparison to other furnishings in the scenes. They are also in the lower third of the frame, though between the left and right third, making them appear much smaller as well. What is particularly interesting is that they are having this meeting in a ballroom, more specifically one with a theatre built in. This could represent that this was all a drama, almost akin to what would play out in a theatre especially considering that this is a retelling and may be told in a more fantastical manner.

[hmdavis]

Hailee Davis


1. This shot is a wide high angle, or could be used as an establishing shot since it is showing the man for the every first time. This shot also really shows how massive the hotel is, just from the lobby alone. It also makes the character look incredibly small as if the place is bigger than itself, or has a big story to it. The colors are really nice too as the man stands out among the sea of orange, wearing his purple which really draws your eyes to him, and while there is another character in scene, from his clothing he blends in as if to say he isn’t as important as the one who stands out. Another thing I really like is how he wears the same purple and red combo throughout the whole movie, even when he’s younger.

2. This is a medium wide shot at a slightly low angle. Even though the shot is at a wider angle, it definitely feels incredibly cramped with how close everyone is to each other in the scene which is really helped with the lens used in the scene, making everything feel much flatter, making them look more compact. In this shot is feels as though the lady stands out a lot even though she is the same color as the elevator, because everyone else is wearing purple. Its also really cool that she is wearing similar colors to the elevator because you don’t find out until the end that she actually owns the whole place.

3. This is a medium wide shot at a slightly high angle to frame when the photo was in the scene. I really liked this whole scene has it really shows a massive turning point in the whole movie, taking the painting. This is even reinforced by the fact that there is a very clear mark where the painting had been sitting there for a very long time. I also really like how the painting was framed, where there is a lot of noise in the whole shot except where the painting was drawing your eye towards it. Another thing that really draws your eye is the purple in their outfits as the rest of the room is very brown.

4. This is a medium shot at a slight high angle and I think has some really fun framing in the scene, with the one character being sat in the frame of the door behind him. It also really makes you focus on him with how he is the only one facing his body directly towards the camera, while everyone else’s is at an angle and off to the side of him. With the lens is also makes it feel like the cell is large compared to the previous scenes before where they feel very flat, making it seem like they are in their own world when making the plans to escape the prison, also because it is closed in.

5. This is a medium wide shot at a slightly high angle to show that they are hanging there with the painting just above them, which is framed in a very similar way to another shot I talked about in this project. Also even though one character is wearing a very different color from the rest of the scene because he is out of place and not meant to be there because they are kind of on the run, your eye really looks at the painting as the paper is torn showing the will that they were looking for after they found out about it. This shot also keeps both the people and the painting in the rule of thirds, the people at the bottom and the painting at the top.

6. This is a medium close up at a slight low angle and is a dirty single. In this shot it feels like is going into the background with how wide and flat it is. The framing is also really nice as it has the shape of the elevator doorway around him as he goes in. One thing I find really interesting is how it keeps the character who is most in focus in the exact middle, while the other character sits off to the side in the rule of thirds. I also find it really interesting that due to the lighting, as he moves back into the elevator it drowns out the color of the purple as if he is becoming part of the background.

7. This is a wide shot at a high angle where the main characters of the shot have their back to us. I really liked this one as while there are so many people in frame, the focus on the two and rule of thirds keeping them towards the bottom really draws your eyes towards it. Its also really nice how when the second character comes in to give the news to the one guy, he also is in the rule of thirds still keeping to the right. I also really like how with the colors of the table and show the main character of the shot is placed, it frames him in the scene since he is wearing all dark colors and the table is very light.

[ChefBriller]

Austin Briller


1. At the 1:02 mark in The Grand Budapest Hotel, the film opens with a static, wide shot of a weathered brick wall bearing the text "Old Lutz Cemetery," immediately setting the tone for the whimsical yet melancholic world of the film. The shot is symmetrical, with the text centrally framed, and likely captured using a wide-angle lens that creates a deep depth of field, ensuring both the foreground and background are in sharp focus. The mise en scène is meticulously designed, with the soft, even lighting highlighting the texture of the bricks, evoking a sense of nostalgia and historical decay. The brick wall's geometric patterns and the carefully crafted environment underscore Wes Anderson’s love for symmetry and visual balance. Given the symmetry of the shot, this is a great example of frame within frame, making the audience feel as though they are peering into a new world.

2. Anderson frames a medium two-shot of the two gentlemen in the train car, both looking at each other with a shared moment of tension. The low angle elevates the characters, giving them a sense of importance, but also emphasizing the claustrophobic space around them. The focal length is likely between 25-55mm, keeping both characters and their immediate surroundings in sharp focus. Their eye lines are deliberately placed a little below the top third line, creating a subtle but effective visual connection between them, while also enhancing the sense of intimacy and unspoken conflict. The rich purple of their outfits stands in stark contrast to the more muted tones of the train, reinforcing their alienation in this confined space. The mise en scène, with elements like polished wood accents, delicate glassware, and plush seats, communicates a sense of luxury, but the characters are dwarfed by the grandiose surroundings, visually suggesting their sense of being overwhelmed or trapped. This shot captures the emotional undercurrent of the scene, where unspoken tension is communicated not through words, but through carefully crafted framing and visual composition.

3. M. Gustave’s raised hands and upward gaze to convey a moment of dramatic flair and emotional complexity, highlighting his character’s eccentricity and inner turmoil. The symmetrical composition and carefully controlled lighting emphasize his central role, portraying him as the focal point in a chaotic world in which he strives to maintain order. The use of a wide-angle lens and deep depth of field ensures that the environment remains as important as the character, reinforcing Gustave’s connection to the hotel and its declining grandeur.

4. Anderson frames a close-up of Agatha at eye level, using a clean single and a POV shot from Zero’s perspective. The close-up draws attention to Agatha as the emotional core of Zero’s world, emphasizing her importance in his life. The eye-level angle conveys their equal emotional connection, suggesting mutual love and respect. The clean single and POV framing focuses entirely on Agatha, reinforcing that she is the focal point of Zero’s thoughts and feelings. The background motion is minimal, with only the spinning lights from the carousel, which metaphorically represent how Zero’s world orbits around Agatha, highlighting her as his emotional anchor. The 100mm lens and f/3 aperture create a shallow depth of field, blurring the surroundings and isolating Agatha, further intensifying her presence and the dreamy, romantic tone of the shot. The lighting, particularly the yellow glow from the carousel and the unmotivated pink hues adds warmth and symbolizes their youthful love and passion. Agatha’s beige coat reflects her understated, natural beauty, while her minimal makeup emphasizes her purity and simplicity. The color palette—yellow for happiness, pink for love, red for passion, and orange for change—mirrors Zero’s emotions and his sense of transformation as he imagines their future together. The static camera captures her as the steady, unchanging presence in Zero’s life, signifying her role as his emotional constant amidst the turmoil around them.

5. Anderson frames a wide shot of a man walking through the snow with a briefcase, positioned in the middle of the street, creating a sense of isolation and purpose. On one side of the street, there are two bikes, and on the other, two cars are parked, with the symmetry of this arrangement reinforcing the film’s signature visual style. The hotel is seen in the background, its grandeur towering over the street and subtly reinforcing the importance of the Grand Budapest Hotel in the story. The low angle and centered framing draw attention to the man as a lone figure in this expansive, cold environment, making him feel both small and significant within the larger world. The snow adds a sense of quiet stillness, heightening the atmosphere of isolation. The deep focus keeps all elements in sharp detail, from the snow-covered streets to the parked vehicles, further emphasizing the organized, controlled world Anderson creates in his mise en scène. The symmetrical arrangement of objects on either side of the street, as well as the man’s solitary walk, reflect the theme of order and control amidst the looming chaos of the narrative.

6. Anderson frames a high-angle shot looking down through a hole in the floor, giving the viewer a bird’s-eye view of two men who have just stabbed each other and many others are already dead. This perspective creates a sense of detachment from the action, as we are positioned above the chaotic scene, observing rather than directly engaging with it. The shot uses a wide lens, enhancing the feeling of spatial distance and making the characters appear small and vulnerable in the larger setting. The composition is symmetrical, with the men positioned near the center of the frame, which reinforces Anderson’s signature visual style of organized chaos. The lighting is harsh, casting strong shadows on the figures below, adding to the starkness and violence of the moment. The mise en scène — with the hole in the floor — not only serves as a literal device to frame the action but also symbolically reinforces the separation between the characters and the world around them. The static camera heightens the feeling of cold observation, as we are distanced from the brutality unfolding below. This shot emphasizes the absurdity of the situation, with its distant, clinical perspective, highlighting the dark humor and chaotic violence that runs throughout the film.

7. Anderson uses an insert shot to focus on a photograph of the hotel staff, displaying the image prominently to the audience. The shot is framed tightly, with the photograph occupying much of the screen, allowing the viewer to focus entirely on the faces of the staff members. The composition is balanced, with the photo arranged in a symmetrical fashion, a hallmark of Anderson’s meticulous style. The lighting is soft, possibly coming from a nearby lamp or window, which gently illuminates the photograph and gives it a nostalgic, almost reverential quality, highlighting the importance of these characters in the story. The mise en scène suggests a sense of history and tradition, with the photograph likely serving as a visual marker of the hotel's past and the connection between the characters and their legacy at the Grand Budapest. The photo itself is somewhat faded or aged, emphasizing the passage of time and the history behind the hotel staff, alluding to how the past informs the present. The static nature of the shot further underscores the stillness and the weight of memory, as this moment in the film lingers in the viewer's mind, adding depth to the overall narrative of loyalty, duty, and nostalgia.

[fellowghoul]

Trinity Torres

[MonsterMegalodon]

Cassandra Rebolloso Hanson

ACT 1


An Establishing shot, we are first being introduced to the Grand Budapest Hotel. It is a High Angle since we can see above all the railing at the bottom. We would not be able to see the flooring or any of the benches or bushes if it was a low angle. There is no one in frame at the moment.

The framing of the shot is balanced along with it being a static shot. The Director wants us to focus only on the Hotel and that is it.

The F-Stop looks like it is around F11 since the foreground and the background are similar in clearness. The ISO is around 800 and the Shudder speed is around 1/500.

The colors of the hotel give an inviting feeling since they are light on the eyes. But along with the building feeling inviting it feels isolated but peaceful as well with the snow-colored trees.

There are a lot of squares within the scene which make everything seem industrial. But there are also a lot of half circles which make everything seem inviting.


ACT2



An Establishing shot, we are first being introduced to the Grand Budapest Hotel. It is a High Angle since we can see above all the railing at the bottom. We would not be able to see the flooring or any of the benches or bushes if it was a low angle. There is no one in frame at the moment.

The framing of the shot is balanced along with it being a static shot. The Director wants us to focus only on the Hotel and that is it.

The F-Stop looks like it is around F11 since the foreground and the background are similar in clearness. The ISO is around 800 and the Shudder speed is around 1/500.

The colors of the hotel give an inviting feeling since they are light on the eyes. But along with the building feeling inviting it feels isolated but peaceful as well with the snow-colored trees.

There are a lot of squares within the scene which make everything seem industrial. But there are also a lot of half circles which make everything seem inviting.




This is a Master Shot since it followed an Establishing shot of a new location.It is a Low Angle since we can see the under side of Mr.Gustave's nose. This shot is also a two shot since we are able to see both characters faces in the scene by using a mirror to see the second person.

The framing of the shot is balanced along with it being a static shot. The Director wants us to focus on the painting since it is right in the middle. But he also directs up to two other points which are the small mirror an Mr.Gustave.

The F-Stop looks like it is around F8 since there are parts within this scene that are blurry around the edges since they are unimportant. The ISO is around 800 and the Shudder speed is around 1/125.

The colors of the scene give a sense if some what calm with the blues in the frame. But the orange/yellow lighting plays a big factor in this since the lighting is focused on the painting and Mr.Gustave.

There are a lot of squares within the scene which make everything seem industrial and almost makes them seem trapped with this painting. The rule of thirds is heave here since the painting is in the middle. Mr.Gustave is in the bottom left corner and Zero being on the right line of the rule of 3rds.




An Establishing shot, we are first being introduced to the Grand Budapest Hotel. It is a High Angle since we can see above all the railing at the bottom. We would not be able to see the flooring or any of the benches or bushes if it was a low angle. There is no one in frame at the moment.

The framing of the shot is balanced along with it being a static shot. The Director wants us to focus only on the Hotel and that is it.

The F-Stop looks like it is around F11 since the foreground and the background are similar in clearness. The ISO is around 800 and the Shudder speed is around 1/500.

The colors of the hotel give an inviting feeling since they are light on the eyes. But along with the building feeling inviting it feels isolated but peaceful as well with the snow-colored trees.

There are a lot of squares within the scene which make everything seem industrial. But there are also a lot of half circles which make everything seem inviting.



This is a Close up to focus on the expression that Agatha is making The director wants up to he how she is happy and in love with zero. It is a High Angle since we cant see the bottom of her chin, this may also be a POV shot from Zero. They want to show that there is now power imbalance at the moment only care. This is a clean single shot of Agatha with nothing but lights behind her. This shows us this is how Zero sees Agatha on how he loves her.

The framing of the shot is souly focused on Agatha to show that she is the only thing that matters to zero at the moment. The director wants us to know that she is Zeros love by having the lights from the carousel illuminate her.

The F-Stop looks like it is around F2-4 since the foreground is clear while the background is super blurry. The ISO is around 1600 since there is not much light and the whole scene here is dark. and the Shudder speed is around 1/125. It looks like the shot may be a somewhat of a fish-eye lens since the shot is just slightly stretched out.

The lighting tells that both Zero and Agatha have an innocent love for each other since the lighting is pink. The lights in the back shows the range of emotions that Agatha is having when it finally lands on yellow which would symbolize joy




An Establishing shot, we are first being introduced to the Grand Budapest Hotel. It is a High Angle since we can see above all the railing at the bottom. We would not be able to see the flooring or any of the benches or bushes if it was a low angle. There is no one in frame at the moment.

The framing of the shot is balanced along with it being a static shot. The Director wants us to focus only on the Hotel and that is it.

The F-Stop looks like it is around F11 since the foreground and the background are similar in clearness. The ISO is around 800 and the Shudder speed is around 1/500.

The colors of the hotel give an inviting feeling since they are light on the eyes. But along with the building feeling inviting it feels isolated but peaceful as well with the snow-colored trees.

There are a lot of squares within the scene which make everything seem industrial. But there are also a lot of half circles which make everything seem inviting.



ACT3





This is a Wide shot that wants us to focus the hole and the characters. This is a two shot along with it being an overhead angle. This shows up that they we surprised by an interesting discovery.

The hole of the trucks roof frames both zero and Agatha to show that they have discovered something. with the hole being shown to signify that there has been something found.

The F-Stop looks like it is around F8 since the foreground and the background are similar in clearness. The ISO is around 1600 and the Shudder speed is around 1/125. It does not look anything is in super focus.

The colors of the shot make feel like its relief since they finally house the answer to their issues. The blue that zero is wearing is showing that his has been worried the whole time while Agatha's outfit is similar to the surrounding since she found out about the letter first.

This is nice framing since they are in the middle of the circle. Along with Agatha being on the top line and Zero being on the bottom line for the rule of thirds.


An Establishing shot, we are first being introduced to the Grand Budapest Hotel. It is a High Angle since we can see above all the railing at the bottom. We would not be able to see the flooring or any of the benches or bushes if it was a low angle. There is no one in frame at the moment.

The framing of the shot is balanced along with it being a static shot. The Director wants us to focus only on the Hotel and that is it.

The F-Stop looks like it is around F11 since the foreground and the background are similar in clearness. The ISO is around 800 and the Shudder speed is around 1/500.

The colors of the hotel give an inviting feeling since they are light on the eyes. But along with the building feeling inviting it feels isolated but peaceful as well with the snow-colored trees.

There are a lot of squares within the scene which make everything seem industrial. But there are also a lot of half circles which make everything seem inviting.

[Adham Aatiq]

Adham Aatiq



->
This scene is a clean single, medium full shot with low angle framing. The camera pans across the room ending on M. Gustave as he solemnly sits at his table eating. Allowing us to see his whole body shows is he’s wearing an extremely plain attire. Low, warm lightning that feels quite homely. The colors however are all neutral, with whites, beiges and grays unlike all the other locations in the hotel which are vibrant colors. It could show that M. Gustave is not as lavish when he’s in the comforts of his room.


->
This scene is a Medium long shot, with eye level angle, and a 3 shot. The duo sits directly in the middle of the frame within the frame of the kitchen. Both wearing purple which contrasts with the surrounding colors. M. Gustave and Zero were waiting, and while they were waiting they could watch all the commotion from the window, they are separated but included.


->
This is a medium close-up shot The camera is positioned at eye level with the subject but is tilted slightly upward to emphasize the man’s line of sight towards the painting. There’s also a frame within a frame with the painting and mirror. This adds depth and focuses the viewer’s attention on the painting, as well as the Zero’s face, reflected in the small magnifying mirror.

->
An establishing shot that captures both the prison and the expansive natural surroundings, including the snowy trees and the river in the foreground. The wide framing establishes the location and provides a sense of scale. It’s low angle. The white of the snow and the harsh brown of the prison allows a strong contrast.

->
This is a medium shot, single, that's focusing on the silhouette of Kovacs against a large window. His figure fills the center of the frame. It’s eye level with the silhouette, placing the viewer on the same plane as the character. This direct, symmetrical angle enhances the sense of anxiety since he’s being chased by a hit man. The window creates a symmetrical check pattern around him while leaving a large square in the center. Another frame within a frame.


->

It's a medium wide shot that emphasizes the cable car as the focal point while showcasing its surroundings The cable car is framed symmetrically, creating a sense of balance. The cables form an "X" shape that converges at the center, drawing the viewer's eye to the cable car. This sequence is also one of my personal favorites, you'd later see M. Gustave and Zero transfer cars midair and it's framed very interestingly. The image conveys a quiet, isolated feeling, enhanced by the soft fog and the stillness of the cable car suspended mid-air. It evokes a sense of calm and suspense because we don't know where our duo is being led to.

->
This is a Master Shot, and a group shot that captures multiple characters from head to waist. It includes a large number of people while keeping the main figures at the table in focus. The shot is symmetrically framed, with the table at the center, the figures around it forming a semi-circle, and a large backdrop of mountains within an arch in the background. The characters are evenly distributed, filling the frame in a balanced and deliberate manner. Everyone is eagerly waiting with baited breath for the cop to open and read the final will. The costumes in the scene are almost like a culmination of all the different factions throughout the film all here in this final deciding moment.

[SamseraiLopez]

Samserai Lopez



1.



This shot is a double full shot from eye level. This is meant to establish our characters within their environment so we get a feel for their place in this world. The framing here is using leading lines and symmetry to guide our eyes the interaction of our characters within the shot, as important as the environment is and how much space it takes up compared to the characters our eyes are forced to the center where we have the two. It’s as if to say that they’re not as important to the story as the hotel is but we have to follow these two in order to get to the actual story. The shot is still, with minimal movement but they both move in contradicting directions so we know there isn’t a unification between the two. The camera is likely a longer focal length to squash our environment and characters into one flat plane while also making them look small in comparison and almost having a fisheye effect on the frame with an fstop that is has a medium to larger depth of field since we don’t have anything majorly blurred this is to better help us get this story book feeling. They’re stuck on a page in a story, this isn’t as much a film as it is a children’s book come to life. The colors here are quite interesting, we have an overarching theme of yellow in the environment to create this warmth that’s inviting and rich in history that’s highlighted with the grand staircase and pillars but the narrator is in a bland color that almost blends into the environment so we know he isn’t overarchingly important whereas the concierge is a contrasting purple- this is a color that’s indicative of a better nostalgic time, a time that we can no longer see in the environment given how barren and aged it looks (in color.) There’s also use of a frame within a frame here where we have our characters in a small box surrounded by marble.



2.



This shot is a clean double close up with zero in the back at a medium shot. This is shot from a low angle so we can have a distinct size difference between the two to establish that Zero simply does not have the status as M Gustave. The composition has a lot of squares within squares and our characters are almost framed within a frame- Zero is but M.G. is not he’s just outside of the box as if he himself is on the same plane as the “Grand Budapest” signage to imply that he himself is what makes it THE Grand Budapest. Zero is in a frame of squares where everything else is rounded so we know he’s being measured and compared. It furthers the power dynamic here. The camera is on the longer side for the focal length as we can see M.G’s face rounding out more and that background flattens despite how far Zero seems to be. This is what helps the previously mentioned to be highlighted and pushed. The colors here aren’t nearly as aged and old as the colors we’ve been seeing associated with the hotel in the beginning sequence. The frame itself has changed sizes to depict a shift in time. The Soft colors now fit in with the decadent purple so that we can see that this place is a fancy one- royal, even. Zero’s hat is on at an angle while M.G. is absolutely pristine, we see that there’s plenty to learn for Zero. This shot is stationary so we get the feeling of stillness, this is pivotal- M.G. is someone to be looked up to and when he speaks we listen- especially if we’re Zero.




3.

This is an establishing shot from eye level, we’re meant to see the lifts crossing paths, we don’t really see characters here it’s more about the shift of the course they’re currently on. Anderson isn’t beating around the bush on this one- there are distinctly two paths in opposite directions, the camera is still but the movement is in the cars directly, we have the car they’re in moving from bottom left to the middle on their voyage then enter another car from bottom right to middle, they were moving up but as soon as we see the other car and then actually board the other car we know there will be a descent downwards since we visually saw the way their changed paths. The camera is likely a long focal length to flatten the cars to make them seem like they're on the same plane. It’s very clever in its composition to visually depict the complication of things. The cars are the same but flipped, one is white with blue accents and the other blue with white accents, they aren’t even on the same car- this is a whole new “ride” metaphorically speaking.




4.


The shot size here is a double medium close up shot from eye level. There’s a frame within the frame in the composition, we have them both inside a literal box where they take up the middle of the thirds on screen and the other two thirds are dedicated only to the car itself. They’re intentionally small and trapped, he’s talking about the downfall of what was once great and they can’t do much about it in fact he doesn’t even want to ever go back to see how it’s fallen. The camera pushes in while he talks about this as if to indicate the verbalization of his innermost thoughts and the viewer needs to be closer to him to feel that intimacy until it’s abruptly interrupted and stopped in its tracks to continue on with the story. The lens is still long here- Anderson is trying to push all the planes into one to flatten the images, we have Zero right behind, as always. In M.G’s shadow waiting to be of service like a lobby boy is expected. The colors in this shot push the innocence and overall sense of rightness in contrast to the dark colors in the next shot of the Grand Budapest in its current state.



5.


This is a double full shot from a bird's eye view. The composition is a frame within a frame, we’ve got our characters literally broken into the pink foreground which symbolizes an extreme femininity and innocence despite the fact that Mendl’s is contradiction in itself, it’s feminine and innocent in color but is constantly used to deceive and disrupt so it blends in without being suspected. They’re breaking through that facade and find themselves tangled in the boxes as if to say they’re in the thick of deceit and cunning. Despite the mischievous nature the colors are indicative of a deceit for the greater good and they just found something important so they’re at the center of that plan now. The use of a long focal length and larger fstop helps to create a distance and flatness without losing any detail in our shot so we know exactly what is happening and where they are.



6.



This is an incredible sequence, we’re back to the beginning- or rather the end of the beginning. This is a double full shot at eye level that started out as a medium shot, we’re close enough to feel what he feels, to understand the weight of what this story means. We begin with a slow pull out so we can feel his words resonate and reverberate. When he’s asked what happened to M.G and states of his demise there’s an abrupt pull out to really show how alone they are and especially how alone he is at the end of this grand story about a grand hotel. The focal length is in the middle to create space but still has some level of trapped on one plane in a large background. The space that was once vibrant and lively is this sad weathered brown and orange that makes us feel the emptiness. The only contrast being his darker cool tone suit and the white and blue mountains in the painting.



7.



This is an extreme close up insert shot of the pendent shot from eye level. This is the pendant that belonged to Agatha that we’ve grown to associate with her. The composition has the pendant directly in the middle. The colors that were one pastel and gentle exuding love and innocence and passion have now darkened with age and loss. Anderson wants us to feel the loneliness and the fall of our heart for the characters we’ve grown fond of. We know only he remained since the beginning but this is the moment we all get to truly feel the loss of the story that was left untold or at least untold at the same attention to detail and insight the rest was. The camera is a longer focal length and an fstop high to match for a clear and crisp view of what was important- Agatha. He holds it right at his heart and we can see where those two colors collide, matured and aged or not they exist together and so he exists here in the hotel that brought them together, alone.

[CKing]

Cara King
________

[Aaliyah Mickle]

Aaliyah Mickle




1. This is a medium-full clean single shot at subtly low angle. This is also a point of view shot from the Author’s perspective. By centering in on Zero in the bath we are just far enough to see both his expression and body language within the surrounding environment but still feel emotionally detached from him at this point. Here Zero feels mysterious and subdued, with a contemplative demeanor, as if he is lost in thought or resigned to a state of isolation even as he speaks to the Author. The shot is asymmetrical, unlike a lot of Anderson’s shots, but it still feels balanced. This shot, though we are far away from the character, is like a portrait within the frame. He falls on the Rule of Thirds hotspots on the right 1/3 of the frame and his eyeline on the lower 3rd of the frame. This shot captures a sense of stagnancy, as Zero sits, confined by the surrounding geometric shapes of the tiled walls and tubs. The signs on the walls, reading "Hotel Guests Only" and "Clinical Treatment," emphasize this sense of restriction and exclusivity, even though ironically this is where he first connects with the Author. The use of layers in the foreground and background creates that shape within a frame effect that further reinforces his isolation from the Author’s point of view. The lighting here is soft and diffused, like much of the lighting in the film, casting a warm yet dim glow everywhere. This lighting reinforces a sense of faded grandeur, making the hotel’s bath feel like a relic of the past. The muted warmth contrasts with the cool blues in the frame, especially the bathtub blue, drawing our attention toward his face. Here we have a shallow depth of field with a f-stop a around f5 but a shorter focal length at around 20mm. That’s how we blur the foreground but still focus on the character’s face while getting this almost fisheye lens warping. It creates this estranged effect for the Author and audience as we don’t know anything about Zero at this point really. The perception of him is warped, cold, and lonely until the Author starts to hear his story.



2. This is another POV shot from an overhead angle as we look down at the desk from where Jopling would be looking. This shot lays out the story of the crime for us quite plainly, as if the desk is a narrator itself. The stillness as Jopling is on the phone creates a tension within the frame, as if the camera itself were scrutinizing the evidence alongside the viewer. The high angle flattens the objects allowing us to unfold the danger of events past and yet to come for Madame D, Serge X, his sister, and our protagonists. The objects in frame are carefully organized, yet cluttered, with each item contributing to a sense of mystery and character insight. The placement of objects (gun, poison bottle, photographs, and old telephone) creates a frame-within-a-frame effect, naturally drawing the eye to Gustave’s mugshot in the center. The vignette around the shot also frames the photograph well drawing our attention to the center but being subtle enough to see the other objects still. The choice of warm lighting again casts an almost sepia tone over everything, echoing the film’s nostalgic view of the past. This lighting draws attention to the photograph’s white borders, making it stand out against the darker hues of the surrounding items and desk. The light diffusion is particularly effective in highlighting the gun and poison, which, though static, carry an implied threat that surrounds Serge’s portrait. There is a shallow depth of field that focuses on the immediate items in the center, though unlike the bath seen the view isn’t warped by the focal length. This shot has a f-stop at around f5 but a focal length at 35mm to mimic the perspective of Jopling looking down at the desk. This effect adds to the feeling of restricted vision, conveying how Serge’s identity is boxed in by the profile Jopling has on him. The meticulous composition and limited color palette of warm browns, faded greens, and off-whites establish a tone of quiet suspense, very different from that of Grand Budapest’s sweet pastels.




3. This is a medium-close clean single shot taken from a slightly lower angle, focused on Agatha as she emerges from a hatch on the rooftop. The framing isolates her against the night sky, accentuating her vulnerability and the quiet manner. This peeking out that shows just her head is a misleading foreshadowing into the next scene where we learn a young woman’s head had been cut off, later revealed to be Serge’s sister not Agatha. The low horizon line and the vast amount of sky give the impression that she is swallowed by the cold, indifferent environment, that makes the audience concerned for her safety in the rising tension. The dark, cool tones and soft, diffused lighting evoke the quiet stillness of night, with faint illumination highlighting her face and giving it a soft, ethereal quality. The soft and warm innocence they color her with is still maintained here as it is throughout the movie. That also informs us of how Zero thinks of Agatha as he recounts his story. The story through texture here of snow on the rooftop adds a tactile element, making the scene feel harsh and unwelcoming. The lighting subtly contrasts Agatha's warmth with the cold, bluish surroundings, emphasizing her courage and resilience. The symmetrical framing of Agatha within the hatch, alongside the Rule of Thirds placement, reinforces her position as the focal point, yet she appears small and overwhelmed by the mass of blue that is her surroundings. For this shot, we still get a shallow depth of field slightly blurring the foreground of the roof at around f5. This separates Agatha from the background while maintaining enough clarity in the night scene to capture the rooftop’s details. The focal length here is around 50mm to compress the background, making the night sky and surrounding elements feel closer to Agatha. The combination of this focal length and f-stop emphasizes her as the central figure without completely isolating her from the environment.




4. This is a wide shot of the prison exterior that is too far away to see any faces, but we do see three characters scaling the prison wall. The frame is dominated by the snowy landscape, with the prison positioned in the left third, creating an asymmetrical but balanced composition, a skill of Anderson’s as an auter. This shot emphasizes the cold, harsh environment Gustave wishes to escape to that would still be an improvement over prison. The color palette is primarily cool, dominated by deep blues and grays with the prison itself being the only break in color with its warm browns. It separates the prison and the snowy landscape into their own worlds. The cliff’s edge and snowy trees enclose the frame, creating a "trap" or "border" around the prison, symbolizing confinement and danger. But on the other side, we see no prison, making the chasm between both cliffs a threshold of freedom. By pulling back to this distant, lower-angled perspective, the shot distances the audience emotionally from Gustave and the others. It adds to the sneaky fast-moving energy as the characters make their ambitious escape. The atmosphere feels both serene and ominous, capturing the beauty of the snowy scenery while reminding us of the danger that the characters face. This scene was shot with a telephoto lens at a length of 150mm and an f-stop at around f8. It lets us clearly see the surrounding environment much like a landscape painting. Without much area for rest except the prison wall it creates an overwhelming feeling compared to the small characters in the distance. It emphasizes the enormity of their task as they escape. Here, nature is wild and unstructured, a shift from the rigid, human-made environments inside. This contrast may symbolize the chaotic freedom of the outside world versus the structured confinement of the prison.




5. This is a medium-full shot of Kovacs shot from a lower angle. I wouldn’t consider this a clean single though as we don’t actually see his face. He stands in front of this large window, placing him at the center of the frame while keeping his features obscured. The grid of the windowpanes creates an almost prison-like framework around him, symbolizing entrapment and vulnerability. Though centered, the shot doesn’t follow Anderson’s usual symmetrical style perfectly; instead, it feels slightly off-kilter with Kovacs’ asymmetrical silhouette, adding an uneasy atmosphere to the moment. Kovacs’ silhouette with his glasses highlighted adds a surreal and ominous tone, immediately drawing attention to his isolation and the impending danger. It’s a very intentional choice as it adds a very dramatic, almost film noir or even anime feel with the glint of the glasses. The lighting here is starkly backlit, making Kovacs a black silhouette against the blue-lit background. This decision emphasizes mystery and tension, as his identity is erased, making him appear as an anonymous, vulnerable figure. The floating glasses isolate his eyes and evokes a sense of paranoia as he is followed by Jopling who stays just out of sight. The cool blue tones dominating the scene evoke a sense of dread, contrasting with the warmer that is seen throughout. The shallow depth of field places emphasis on Kovacs, keeping him sharp against a slightly blurred background. This depth choice creates a “tunnel vision” effect that narrows the viewer’s focus, heightening the tension by isolating him visually from his surroundings likely with and f-stop of f5 again. The 80mm focal length creates a clear, slightly compressed image of Kovacs with a blurred background. This longer focal length enhances the sense of distance between him and his surroundings, conveying his vulnerability.




6. This is a medium crowd shot shot from a lower angle. In the film, this is where the story comes to a point with the reading of the second copy of the second will. All the worlds, plot lines, and characters collide here in the ballroom of the Grand Budapest. The color coding throughout the film has identified each party's interest in this conflict. Saturated colors and pastels usually represent the interests of our protagonists as seen on them, Agatha, and the hotel in general. The greys and browns usually represent a neutral party like Albert, Kovacs, the inmates, even the Author. And black is the opposing force which wishes to see the downfall of the protagonists. In this shot, we get all of those colors mingled together to settle the matter of the will. All backdropped by the consistent mural in the back. By framing Albert at the center of the table, the shot uses his character as an anchor amidst the various factions present. The low angle lends a sense of authority to Albert, elevating him as a central, almost impartial figure among the chaotic assembly. This positioning makes him the "referee" of the unfolding conflict, highlighting his role as a neutral party presiding over the reading of the will. Again, we see the mastery of balance here through character, color, and composition. This shot has a soft and even lighting that shows that no one faction dominates another in this moment. It just feels like the moment we’ve all been waiting for, and it carries that soft warmth with it as we can anticipate Gustave exoneration. The choice to arrange everyone around a table evokes a sense of finality and justice, as if this is the film’s "courtroom" moment, unlike the actual courtroom scene which sways in Gustave’s favor after all. Each character is given equal visual weight, signaling that everyone’s interests are represented, and each viewpoint must be acknowledged before the matter of the will is settled. The focal length here is around 45mm to give us this mass of a crowd. The f-stop sits at around f9 in conjunction with the focal length to further reinforce this idea of the crowd’s interest in the will, not just the individuals.



7. This is an establishing shot from a high angle. It feels like the POV of someone sitting on top of the train, but it establishes the environment and changes in idea as Zero moves on to this part of the story. The cut to this scene though is striking and heavily contrasted to the rest of the film we’ve just watched. It’s foreboding and unwelcoming as our protagonists' chug along to what is ultimately their demise. After this we learn of Gustave’s execution and Agatha’s untimely death. This shot signifies the beginning of the end. Where Zero should be the happiest, we have this black and white shot. Even in previous shots where the snowy landscape is soft pinks and icy blues, we see now the color has left this world; Zero’s world. The train itself even seems to move slower as we approach what we can all assume is the lowest point in the story. Previously, all the vehicles gave this whiplash effect train, cars, bikes, included. Now we see the train slowly lumbering along with this soft billowing steam as if the train doesn’t want to go where this story ends. There is also no change in direction here which gives this sense of inevitable doom as it moves forward on this straight track. The depth of field here is relatively wide with everything in focus. We’re looking at a focal length of around 25mm to give that riding on top of the train effect. The f-stop is higher than previously (the shutter speed is probably faster than before too) at around f10 minimizing the blur and bringing everything into focus. It draws out the moment, taking away all that fast-moving energy and forces us to sit with the story as the end unfolds. It’s solemn and tragic, but it’s real in how it bears no semblance to the whimsical fun and adventure of life at the Grand Budapest Hotel.

On a separate note, this whole black and white sequence makes me wonder if Anderson uses this moment to break his own style and show the gravity of Gustave’s death in the story. Have we been watching through the mystified eyes of Zero the whole time? Was the Grand Budapest really as grand as it seemed, or does Zero just remember it that way? I mean the building’s shape completely changes in 1965, and how beautiful can a world really be during wartime? We see the present day with soft neutrals as the girl reads the Author’s book. As we go back into the 60s when Zero is telling the story, we have these funky sickly warm colors. And in the 30s where the story takes place, we see the most saturated and appealing of colors. For the life of an immigrant lobby boy whose already had his family taken from him before, I wonder if this whole time Agatha and Gustave were what brought those colors into the world as they are shown to us.

[Sebastian Jurado]

Sebastian Jurado

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#1: This frame has a master shot size with a crowd shot framing and high shot angle. The director made these specific types of cinematic choices in order to establish the general ambiance of grandeur in this area of the hotel while also attempting to display the layout of the dining tables and how they relate to the guests, particularly far enough for each other different guests to be emotionally and mentally distant from each other, but still maintain a sense of intimacy within each individual table. The director most likely intended for the audience to feel astonished or be in awe of the size of theater/dining area. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a wide angle lens and a regular f-number which creates a normal focus. These camera setting choices were made in order to show the audience the general area without particularly focusing on one specific part. Regarding the lighting and costume of the characters, we can see that this place and these people are suppose to be lavish or high class due to the architectural design and dresses/suits of the guests. The director most likely made these choices in order to further emphasize and contribute to the idea of the quality and type of hotel the Grand Budapest Hotel is.

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#2: This frame has a master shot size with a crowd shot framing and low shot angle. The director made these specific types of cinematic choices in order to convey to the audience the social dynamic between the hotel staff and their general relationship to each other. The director most likely intended for the audience to see these characters almost like a family, particularity to the way that they are positioned as well as how close they are to each other as they sit on the table. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens and a lower f-number which creates a shallow focus. These camera setting choices were made in order to focus on the characters that are closer to the camera while also showing the length and amount of people who are part of the hotel staff. Regarding the costumes of the hotel staff, they seem to uphold a sense of sophistication and royalty in a sense with the choice of purple. The director most likely made these choices in order further express the high status and fanciness of the hotel.

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#3: This frame has a wide shot size with a dirty crowd/two shot framing and low shot angle. The director made these specific types of cinematic choices in order to make the audience feel as if they were also having dinner in this area while simultaneously displaying the surrounding area and empty tables. The director most likely intended for the audience to notice how empty the area was, with only the two main characters near the camera and two others in the back. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens and a lower f-number which creates a shallow focus, focusing on the two main characters and blurring out the ones in the back. These camera setting choices were made in order to prioritize the conversation between these two characters. Regarding the costumes, the characters fit the scene and perhaps dress code of the hotel, as they are dressed in suits. As for the set, we can see a well furnished and designed dining area. The director most likely made these choices in order also contribute to the perception of the quality of the dining experience particularly at the Grand Budapest Hotel.

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#4: This frame has a medium shot size with a two shot framing and an over the shoulder shot angle. The director made these specific types of cinematic choices in order to focus on the interaction between Zero and Gustave, particularly with Gustave being on the phone while also talking to Zero as well. The director most likely intended for the audience to feel as if they were a part of this conversation, since we are looking over Zero’s shoulder. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a telephoto lens with a lower f-number which creates a shallow focus, particularly on Gustave.

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#5: This frame has a establishing shot size with a dirty crowd/two shot shot framing and a low shot angle. The director made these specific types of cinematic choices in order to show the audience how big this mountain range area is and where exactly this building that the characters are at is located. The director most likely intended for the audience to feel surprised and intrigued about this beautiful area. Regarding the shot direction, the focus is horizontal. The focal length of the frame is most likely a wide angle lens and a higher f-number which creates a softer focus.

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#6: This frame has a medium shot size with a single shot framing and high shot angle. The director made these specific types of cinematic choices in order to show the character Gustave’s face of fear and panic as he hangs over a cliff while also showing the audience the height at which he could fall and the general area around him. The director most likely intended for the audience to feel as if they were in the position of the villain Jopling standing over him. The director most likely wanted to show us the perspective of Jopling and the power dynamic between him and Gustave at that moment.

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#7: This frame has a master shot size with a crowd shot framing and low shot angle. The director made these specific types of cinematic choices in order to show the social dynamic between these characters, particularly showing the close relationship and romance between Zero and Agatha as they sit closely next to each other and Gustave sitting alone. Additionally, we are shown the group of police officials in the background as they watch intimidatingly from afar. The director most likely intended for the audience to feel as worried and shocked as these three main characters were, being caught and stopped by these police people. Regarding the shot direction, the focus is horizontal.

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[bmlugo]

Bianca Lugo PDF file:

Bianca Lugo_Grand Budapest Hotel Analysis.pdf

[benvaz722]

Benjamin Vasquez

• Thia a wide shot, with a bit of a low angle, and is a dirty single since we can only see the back of heads of people, but the focus is on the deputy who should have the focus because he holds the statements of the will. The iso would be 800 to accommodate for the dark room but there is still enough light not to go too drastic. They are using a long lens 150 mm to bring the background closer and exaggerate the pig canvas in the background. The pig canvas along with the walls and floor being green further solidify the greed of wealth of the people the room.

• This shot is a close up shot, straight of a bit low angle, and is a single shot of Agatha on the merry go round. The lens is around 80 because you can see her ears and is good for portraits. The f number is a 5 or 6 to add the blurry effect in the shot and focus our attention on the girl. Iso of 1000 and shutter of 1/125 would be perfect as she is not moving in this shot. The circle of lights around her draws the eyes to focus on her and the light on the stage left further defines an important feature of her which is her birth mark.

• This is a medium shot, straight or a bit of a low angle, and is a single shot of the deputy. The director probably uses a long lens of 150 mm to bring in the building behind the deputy while also framing him with the window to get this nice silhouette of the man. The f stops of 10 is used to blur the background just a bit to help the audience focus on the deputy. Iso 1600 and a shutter speed of 1/125 to get this dark shot. The blues and the silhouette of the deputy give the feeling that he is a thief in the night as if he shouldn’t have been there.

• This is a crowd shot, possibly a medium shot, and is abet of a low angle. This shot has the windows of the car framing the help of the woman who dies but also provide a separation between the characters using the border between the windows. The lens is 50 mm, f number 800, and 1/125 shutter speed since the shot is fairly lit. The aperture would be high like 18 since the background of the shot isn’t blurred out.

• This shot is a establishing shot of the Grand Budapest Hotel at a straight or slightly low angle. The lese is probably long at 200mm to bring in the forest and further make the hotel feel like a fanciful hide away on the mountains. F number is at 20 to get the clear view of the forest and a speed of 1/250. Iso of 100 should be used since it seems it’s a bright sunny day. The browns and grays really extenuate the disrepair and the difference between Grand Budapest in the past and the mistreatment of it now.

• This is a wide shot, at a straight or slight lower angle, and two shot of the narrator and zero. This shot uses a lens of 60 and f number of 18 in order to get the shot wide enough to encompass the room in detail. Since it is inside the iso is 800 with a 1/250 shutter speed should work. This shot, especially after the line “...so it all went to me” said with a deep melancholy, further extenuate the loneliness zero must of felt having this large fortune but cannot change the losing his friend and later his wife and unborn child.

1. This is a close up, at a low angle, and a two shot of zero and Mr. Gustav. They use a lens of 40 mm and F number of 5 to get the widening of the face with the blur of background. The iso is 800 since it is day but used a low shutter speed 1/150 to get the motion blur. This low angle signify an break in the usual straight ahead approach of the other shots and further intensify the chase scene.

[ruthpliego]

ruth pliego

Right off the bat, within the first 2 minutes of The Grand Budapest Hotel we are introduced to how the rest of the movie will play out. With a single, slightly low angle shot of the Author (low angle as we are listening to him to guide us on out story, and contextually, in the previous shot there was a girl looking *up* to a statue of him, in awe). In this shot there is a beautiful contrast of ideas, specifically those of formality, and unpredictability. The shelves of books, and trophies are there to show the audience how knowledgeable, scholarly, and studious the author is, there is a pairing of horizontal shelves and an abundance of books placed vertically (and unorganized here and there, showing that they are getting used). There is also this nice composition of placing the Author within a frame of the sets of curtains next to him. These curtains and the wall directly behind them are covered in this wild and colorful print of oranges, yellows and reds, that compliment the low value tones of the books.
The Author is also speaking directly to us viewers, and is paired with an unmotivated light (clearly a spotlight) that further highlights the unpredictability of the story (within a story) that he is about to tell. We are meant to listen to him, and give him our undivided attention. Some technical stuff about this shot is that it was probably shot at a 50mm FOV, with a slight shallow focus (low f-stop number). Again, to guide the viewer to just listen to the Author.

I wanted to note that as we switch from present day to the retelling of the story, the aspect ratio changes with it. I get this is to distinguish between the different timelines, but the specific aspect ratios chosen for which timeline are significant because they are meant to mimic the time in which the scenes take place. Any scene set during the age of Mr. Gustave and young Zero is set to s roughly 4:3 aspect ratio, to mimic film from the 1930's. I had to look the rest up: the 2.35:1 or Widescreen is used for young Author and older Zero, mimicking films from the 60's. and older Author is shot at a present day widescreen ratio (1.85:1) as it takes place in the "present day" or rather, closest to the viewer's present.
Wes Anderson definitely plays to this ratio's advantage, I would constantly point out this use of "empty space" that elevates these shots to a whole other level. In this shot, for instance, Mr. Gustave is afraid to point out the fact that he is the one "The Boy With Apple" painting is going to. This framing places him as small, shy, and isolated. Plus the heavy use of semiotics in this scene of putting a frame around Mr. Gustave, with guns and game decorated around him. He knows he is putting a target on his back. This double shot also helps show how Zero really plays to his part in this story, blending into the background, but ready to help out Mr. Gustave at any moment he gets, like a Lobby Boy would do.
This is shot at a slightly higher FOV probably anywhere from 70-80mm FOV, low f-stop since Zero is just out of focus.

The scene where Deputy Kovacs is lit by handle light is reminiscent of the chiaroscuro art movement, this lighting coupled with the single medium shot creates a dramatic but intimate moment between us and Kovacs' words. Despite the shot being pretty open, the fact that Kovacs is surrounded in darkness makes the shot feel tight, the lighting forces us to just look at his face as he speaks, and creates a stark contrast between himself and the background. This lighting and framing also emphasizes how serious he is. And despite the background being mostly darkness, and the candles being directly in front of our subject, the warm tones of the light still make Kovacs the focus of the frame, and the background having mostly even lighting allows for the viewer to not get distracted. This shot was probably achieved by having a 50mm focal length, medium to low f-stop, enough to blur the background and some of the candles closest to the camera, with a medium to low iso, or medium to slow of a shutter speed for the lighting.

The overhead insert shot with the tools getting hidden inside pastries is likely shot with a low mm focal length, maybe a 15 mm, as the image almost becomes flat, collapsing within itself, and slightly distorting the surrounding pastries, making it almost feel like a painting. This shot explains the exact plan our characters have without even having a need to explain it. There is also this interesting contrast between the darkness, dangerousness, and hardness of the tools, getting hidden inside delicate, sweet, pastel colored pastries. Again, the wonderful blend of formality and unpredictability comes to light in this shot as Agatha slowly and calmly sets the tools in place. The use of after effects in this frame, with white blurring around the edges feels like when one is entirely focused in what they are doing that the rest of the world almost feels out of focus, we are meant to feel like Agatha, getting lost and entranced in her work.

The crowd shot with Henckels' top half sticking out of the escape whole is shot at a ground level, perhaps a 45-50 mm focal length, and vertical screen direction, with the tallness of the other investigators and even their flashlights, with a medium to small f-stop to blur the faces of the other investigator, force the viewer to focus on the words Henckles is saying. Plus the floorboards and shoes guide out eyes back to him, the dim even light but his face still seems like the most lit and warmest part of the frame. I also like the fact that just slightly out of frame but not quite is a Mendle's wrapper beside the officers, the pastel pink and red wrapper a contrast to the gray, neutral toned environment.

The shot of Agatha going up stairs, Dimitri following, and Henckles becoming suspicious of them is interesting, this shot has so many different lines throughout it, and I think when used here after the hotel's fascist takeover, it is meant to represent strictness and order. The flags, Dimitri, and the rest of the crowd are a dark and serious contrast to the whimsy of the hotel. Throughout the movie we are given shot after shot after shot of symmetricality, I like that in here, it is used to keep the characters in balance. Not one of the three is taking up more or too much space than the other, they are all important, and they are all someone we should be aware of. This shot was likely shot at a 30mm focal length, deep focus, slight low angle to show as much and the grandeur of the hotel, while also guiding the eye to all the action.

The insert shot of the glass ceiling. During this scene, people at each of the balconies are shooting at each other, to show this shot in between is meant to contrast the threat of violence surrounding it, with the fragility of glass, the softness of the arcades and columns, as well as the soft, warm light and pastels. This was probably shot with a 35mm focal length, and deep focus. We are meant to take in all the detail in this scene. About the architecture, I pointed out the glass ceiling is meant to symbolize fragility, as well as, at the time, the ceiling was meant to symbolize the luxury, wealth and elegance. Now, the hotel is decaying, the glass ceiling doesn't hold as much richness as it did before. Also the pairing of formality and art and creativity show up greatly in the architecture, and you can really appreciate it here: the soft arches with decorated columns stand out because they serve no purpose, the columns aren't there to support the architecture, they are merely there for aesthetics. The decor on every surface are a compliment to each other, all of it is rich.

PureRef of Images incase they don't work: GrandBudapest_ruthPliego

[JoshR]

its an establishing shot, its ~200 to ~300 mm lens, it almost looks 2d the author made this choose because the story is a book being narrated by the author of said book, and it has an orange pink hue to it. most if not all scenes at the hotel have an orange hue to them

the shot is a dirty single, with a lens of ~30mm and an aperture of ~4 because the background is slightly blurry since we are more focused on the character but still need to know that he is in prison, it has a bluish gray hue to it, probably to symbolize lack of freedom. the person be behind him is in a guard uniform, to help us establish further that this scene takes place in a prison.

dirty single insert shot, has a lenses of ~40, the scene has an orange hue to it meaning it takes place at the hotel, this scene has tools being put into bakery witch is how the owner get to escape the prison later on in the film

its a insert establishing shot, its purpose is to show were the characters are headed next, but also to establish how what they are doing could be very dangerous

wide shot, ~100mm shot, with a higher aperture, the character is sitting in hay, form this we can guess he has been waiting a while for the escapes, he is wearing some clothing that throughout the movie we haven't seen him in, he is usually in uniform, or in sleep wear when in his room, he is wearing a disguise because of the prison escape