Cinematic Techniques
A cinematic aspect of this film that I really like is the use of natural light. In the exterior shots key collaborator and cinematogrpher Robert Yeoman has only added to the natural light with bounce light onto the subject to shape it around the face. This natural light is generally very soft top and rim lighting with lovely source to fill ratio that is not very contrasted. In the interior scenes the lighting is generally quite natural with lots of soft tungsten light.
In this opening scene however Yeoman has opted for practical source light. The soft ambience light in each room is low contrast. Also the overall colour temperature of the film is much warmer and has a yellow hue achieved with filters in camera. This recreates teh feel of 60's colours and film.
In this scene Wes Anderson completely demolishes the fourth wall cinematically. In this the camera tracks and cranes through the three-walled rooms of Summer's End, the home of the Bishop family. Anderson has staged gorgeous action shots that almost dances through the Bishop house. These beautiful tracking shots help make the set feel like a dollhouse (which it looks like) and are continuous throughout the film. It is as if Anderson has blown up children’s’ toys to tell stories and for human actors to interact with. Everything in the meticulously framed shots replicates the manufactured perfection of miniature toys. The unnatural symmetry, too bright colours and coordination of the set creates a self-conscious barrier which when coupled with the quirky humor of the film crafts its disarming emotion.
[1] Studio Daily. (2012). Cinematographer Robert Yeoman Talks Super 16 Style on Moonrise Kingdom. Retrieved from http://www.studiodaily.com/2012/05/cinematographer-robert-yeoman-talks-super-16-style-on-moonrise-kingdom/#sthash.sJjKH0Xy.dpuf