Wes Anderson’s Insane Attention to Detail1 min read

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In 2012 graphic designer Annie Atkins found herself perched on top of a mountain for the German winter. Which was fine ““ she was, after all, on the majestic set of Wes Anderson’s The Grand Budapest Hotel. Literally thrown in head first, Atkins had a week between ‘the phone call’ from Anderson’s team and her introduction to the fictional country of Zubrowka where she headed up a small team alongside award-winning production designer Adam Stockhausen. Previously creating graphics and props for period dramas like The Tudors, the Irish-born designer was responsible for every graphic in Wes’s aesthetically pleasing, perfectly symmetrical world ““ from maps to stamps, antique pornography and prison door numbers. We caught up with Atkins at It’s Nice That‘s Here 2015 festival earlier this month ““ an annual conference where a handful of the world’s best creative talent come together to discuss their work ““ to talk about spelling errors, die-hard fans and taking business card design tips from the Nazi Party.

EMBRACE THAT MAGIC MOMENT

For the 2014 hit, the cast and crew took over an abandoned department store called the Görlitzer Warenhaus on the verge of bankruptcy in Görlitz. Well preserved, especially for a building that was in existence during two World Wars, Atkins could see the film’s star quality from the beginning. “I remember the first day I walked onto the set. It’s weird because when you’re working on things and seeing things onscreen you’re never really sure how it’s going to look in real life, but I walked onto set and it just looked amazing ““ really rich reds, purples, pinks, gold, beautiful paintwork on the hotel interior. That day I was like “˜Wow, this is gonna be something really special’.”

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