Perhaps the best thing about Wes Anderson's signature directing style is how consistent it is. When you look at his work side-by-side the auteur's signifiers become obvious: the soft pastel colours, the wide-angle shots, the overly staged and overly directed look of, well, everything. It could be easy to categorise Anderson's style into a few key quirks, but the director's talent runs deeper than it might appear at a glance. Anderson's consistently sophisticated style and immersive techniques are more clearly apparent when looked at in detailed comparisons, or maybe a supercut - that we just so happen to have right here!

The video, by Jaume R. Lloret, focuses exclusively on Anderson's stylistically similar vehicle point-of-view shots. It's perfect as a small insight and a small appreciation of an overlooked artistic technique. This supercut celebrates an important fashion in which Anderson invites the audience into the world of his movies. The point of view acts, well, as your point of view. You're invited to share the world of these characters, to become part of the picture itself. It's a noble, naïve aspiration that feels right at home with Anderson's child-like, romantic style. The shots themselves are almost Kubrickian in nature; setting up a one-point-perspective mis-en-scene that adds a theatrical sensibility to the framing. This all culminates in the one simple idea: that what you're seeing is your point of view.

Myself, and just about every other person in history who has written a piece on Wes Anderson's work always drones on about how "meticulous" or "methodical" the director is, and this supercut, if nothing else, is an example of why. Anderson's shots, even the few showcased in this minute-long video, are staged to perfection. Pause any of the shots and look at the way anything in the scene is staged. Everything is purposefully placed for a reason, be it to create a sense of symmetry or a sense of place. All of Anderson's shots are framed like a photograph or a painting - you never get a sense that one image was deemed more important than another. Each one is lovingly crafted, and that's never more apparent than in these videos about seemingly "insignificant" parts of Wes Anderson's films.

But that's a bit of a pretentious analysis of an internet video. At its heart, this video best communicates how well Anderson imbues life into his films. How he creates an interesting and exciting energy in every shot. Usually these seemingly "unimportant" shots would be passed off to a second unit, there's no artistic flair needed in showing a quick vehicle movement. Yet Anderson manages to bring a relatively mundane act to life. The director attempts to keep these scenes visually interesting and unique to keep the energy flowing. They are exciting and unusual, and it's a small quirk to keep the style of the film fantastical and otherworldly. You're invited to completely immerse yourself in the picture, and that would be broken if this was just another generic shot of a passing boat/helicopter/train that you've seen thousands of times before.

All of this adds up to one simple idea: a lot of work goes into making these movies look so effortless. These shots seem simple enough, yet they are rarely given this much care and attention. It's telling that these small sequences can be cut together to create a minute-long video that embodies everything Anderson is about. In motion these shots appear for a couple of seconds at the most, but what they add to to the overall Anderson aesthetic, both on their own and as part of the complete film, is essential. His style works so well because even when you're only given a snapshot of seemingly random snippets like this, Anderson's themes instantly connect. It's serene and theatrical and exotic and it's definitively Anderson.