When the image knows what world it belongs to.

I am drawn to films where the visual system feels authored rather than merely beautiful.

Wes Anderson is one of the clearest examples for me. The symmetry gets most of the attention, but what interests me more is the totality of the system: framing, colour, costume, objects, typography, production design, repetition, and rhythm all seem aware of the same world.

The films are highly controlled, but the control does not automatically remove personality.

If anything, the structure creates room for eccentricity.

I think that is one reason I keep returning to work like this.

I like visual languages that remain recognisable even when you remove the obvious surface cue.