Wes AnderÂsonÂ’s latÂest picÂture AsterÂoid City is named for the small AriÂzona town (popÂuÂlaÂtion: 87) in which its cenÂtral stoÂry takes place. That town, in turn, is named for the inciÂdent that made it (modÂestÂly) famous: the impact of an asterÂoid that left behind a large crater. That crater was one of the feaÂtures that AnderÂson and his proÂducÂtion designÂers had to make for the shoot — but then, so was everyÂthing else in AsterÂoid City, which had to be raised whole in an out-of-the-way area of Spain. UnlikeÂly though it may sound in itself, the cinÂeÂmatÂic project of re-creÂatÂing the AmerÂiÂcan West in southÂern Europe isn’t withÂout preceÂdent: the “SpaghetÂti WestÂerns” of the nineÂteen-sixÂties and sevÂenÂties also relied on the SpanÂish desert to proÂvide the right atmosÂphere of subÂlime desÂoÂlaÂtion.
Just as movies like A FistÂful of DolÂlars or DjanÂgo are rootÂed in a cerÂtain conÂcepÂtion of the secÂond half of the nineÂteenth cenÂtuÂry, so AsterÂoid City is rootÂed in a cerÂtain conÂcepÂtion of the midÂdle of the twenÂtiÂeth. This comes through most clearÂly in the archiÂtecÂture of their sets.
“The thing was to try to make buildÂings that were as evocaÂtive of the time as we posÂsiÂbly could,” AnderÂson says in the short makÂing-of video above. But this thorÂoughÂly midÂcenÂtuÂry-provinÂcial setÂting also needÂed its mysÂteÂriÂous eleÂments: the crater, of course, but also the obserÂvaÂtoÂry and “the freeÂway on-ramp there that goes to nowhere.” The fulÂly assemÂbled AsterÂoid City felt like not just a set, but someÂthing approachÂing an actuÂal place: “Once it was built, we could be a tiny group in this what seemed like an abanÂdoned town.”
AnyÂone who’s spent enough time road-tripÂping across the UnitÂed States of AmerÂiÂca will recÂogÂnize that, conÂtiÂnenÂtal locaÂtion notwithÂstandÂing, AsterÂoid City capÂtures someÂthing essenÂtial about that counÂtry’s more remote setÂtleÂments, inhabÂitÂed or not, locatÂed in arid regions or othÂerÂwise. This required the fabÂriÂcaÂtion of not just buildÂings but the floÂra, fauÂna, and geoÂlogÂiÂcal forÂmaÂtions of an entire landÂscape, pracÂtiÂcalÂly all of it adherÂent to AnderÂsonÂ’s sigÂnaÂture handÂmade aesÂthetÂic scheme, which someÂhow conÂvinces through artiÂfiÂcialÂiÂty. Even detracÂtors of AnderÂsonÂ’s work sureÂly derive pleaÂsure from the resultÂing qualÂiÂty of sheer physÂiÂcalÂiÂty, some of which also owes to his still shootÂing on good old 35-milÂlimeÂter film — as this video’s pubÂlishÂer, Kodak, doesÂn’t hesÂiÂtate to remind us.
via LaughÂing Squid
RelatÂed conÂtent:
Wes AnderÂson Movie Sets RecreÂatÂed in Cute, MiniaÂture DioÂraÂmas
A Star Wars Film Made in a Wes AnderÂson AesÂthetÂic
Based in Seoul, ColÂin Marshall writes and broadÂcasts on cities, lanÂguage, and culÂture. His projects include the SubÂstack newsletÂter Books on Cities, the book The StateÂless City: a Walk through 21st-CenÂtuÂry Los AngeÂles and the video series The City in CinÂeÂma. FolÂlow him on TwitÂter at @colinmarshall or on FaceÂbook.
Leave a Reply