Wes Anderson’s Symmetry and Symmetrical Editing Explained

Wes Anderson’s use of symmetry in shot composition has long been widely discussed—but did you know that symmetry also extends into his editing style? Anderson applies symmetry to every aspect of his filmmaking, from patterns of events to blocking and production design. This article will walk you through the art behind Wes Anderson’s symmetrical editing; by the end, you’ll understand how it works and why it’s such a strong stylistic advantage.

Breaking Down Wes Anderson’s Style

For most filmmakers, it’s difficult to carve out a truly unique stylistic category for themselves, but Wes Anderson is a director whose style is absolutely one of a kind. Anderson’s use of color is one of his visual trademarks—but his work goes far beyond vivid characters and exquisite production design. First, let’s define what symmetrical editing is.

What Is Symmetrical Editing?

Symmetrical editing is an editing style in which one or more elements match between shots. This goes beyond simple match cuts and extends to blocking, production design, and timing. Symmetrical editing is not mutually exclusive with continuity or discontinuity editing; rather, it’s a stylistic extension of both temporal techniques.

Core Elements of Symmetrical Editing:

• Composition

• Blocking

• Staging

• Patterned events

• Rhythm

Symmetrical Editing: Shot–Reverse Shot

Since the birth of cinema, filmmakers have used a technique called “shot–reverse shot,” in which you first shoot one subject, then reverse the angle to shoot the other subject. For example, these shots are usually done from contrasting angles: a right-shoulder over-the-shoulder shot, then reversed into a left-shoulder over-the-shoulder shot. Anderson, however, often takes a very different approach—he usually places his subjects in the center of the frame.

Wes Anderson’s symmetrical framing in The Royal Tenenbaums

For Anderson, this is more than just a gimmick; symmetrical composition in shot–reverse shot is a crucial part of his directorial style.

Using this strategy, Anderson employs a variety of shot sizes, from medium shots to close-ups and everything in between.

Wes Anderson’s use of symmetrical shot sizes in Isle of Dogs

So if you want to edit in a Wes Anderson–like way, don’t be afraid of symmetrical framing. Use different shot sizes to vary the perceived distance between the audience and the subject. You can easily practice this at home with just two subjects—place them on opposite sides of the frame, forming a 180-degree line.

First, shoot the first subject head-on, centered in the frame. Then shoot the second subject head-on, also centered in the frame. There you go—you’ve created a symmetrical shot–reverse-shot pair.

Symmetrical Editing: Patterned Events

In many of Anderson’s best films, including Moonrise Kingdom, you can find patterned techniques at work. For example, Anderson turns the simple action of walking in a straight line into a paradigmatic example of symmetrical editing. The mirrored blocking and production design, and the way they visually align Sam and Suzy, all reflect this.

In other scenes, Anderson uses patterned events as a storytelling device of juxtaposition. In this sequence, he takes us on a tour of The Grand Budapest Hotel using a kind of telephone relay chase. Each segment ends on a symmetrical shot and cleverly uses an iris effect.

The process of shooting each frame can also be viewed as symmetrical; in the world of The Grand Budapest Hotel, concierges and lobby boys are equally important to both the plot and the visual composition.

Patterned events are everywhere in cinema, from training montages to interrogation scenes. Harold Ramis’s Groundhog Day is a great example that showcases how repetition can be effective in symmetrical editing. You’ll notice that Ramis keeps changing the framing of the clock, moving the camera closer and closer to the ticking digits.

Remember, symmetrical editing does not refer only to symmetrical composition! It can also manifest in patterned events and rhythmically structured cuts. Groundhog Day is a perfect example that demonstrates the various elements of symmetrical editing.

Wes Anderson’s Metric Montage

What does Wes Anderson have in common with Soviet montage theory? As it turns out, quite a lot. Soviet montage theory—a filmmaking movement that emerged in the Soviet Union in the 1910s, 1920s, and early 1930s—outlined five types of montage.

One of these is “metric montage,” defined as cutting shots according to a specific number of frames. Any two or more consecutive shots that are all held for exactly the same number of frames are considered an example of metric montage.

In contemporary cinema, metric montage is almost obsolete. However, some directors still use this technique; Anderson is one of them.

In The Royal Tenenbaums, Anderson largely uses metric montage when introducing each main character. Some theorists argue that this kind of symmetrical shot composition can draw attention away from the rhythm.

Wes Anderson’s shot strategy • Metric montage in The Royal Tenenbaums

Rhythmic montage is a type of montage designed to echo the rhythm of the music. Used well, rhythmic montage can give a film a smooth narrative flow. Anderson makes deft use of rhythmic montage in many of his films.