BLAG 01 - Magazine - Page 21
irector Wes Anderson is known for his
attention to detail in the production
design of his films, and his latest release,
The French Dispatch, is no exception. Set in
a fictional French city in the mid-twentieth
century, the film has been praised for its “handcrafted visual delights” by David Rooney of The
Hollywood Reporter. Among these delights
are the numerous hand-painted signs and
props that add so much to the film’s aesthetic,
painted by Vincent Audoin (Lettreur & Gold)
and Francois Morel (Morel Enseignes).
D
The French duo painted at least one hundred
pieces over almost five months on set with the
production team. The majority of these were
shopfronts and windows, but they also lettered
vehicles and custom props including coffee cups,
crates, and a model police aeroplane. During the
film’s production, Vincent and Francois relocated
from Paris to Angoulême—located about 450km
(280 miles) away in southwestern France—
and visited home on weekends. It was an
intense experience, working alongside scenic
artists and construction crews in an old felt
factory converted into a huge film studio and
production office.
Police aeroplane mock-up showing profile,
plan and wing detail.
Francois Morel lettering the model police aeroplane for use as a prop.
Issue 01
21
