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Colour Palette MC1

Kueh Chia Xin

Seah Yun Zi

Chloe Teoh Yu Xin

Soo Jin Yen

The prison scene in The Grand Budapest Hotel relies heavily on a cool-toned color palette dominated by greys and blue-greys. This visual choice creates an oppressive, lifeless atmosphere, symbolizing strictness, hopelessness, and the loss of freedom. The peeling paint, grime, and dim lighting reinforce the feeling that this is a place cut off from warmth, light, and life — a world where prisoners are metaphorically and literally unable to see the sun.

In sharp contrast, the outside world is depicted with warm, saturated colors — pink walls, purple uniforms, and sunlit settings — evoking romance, elegance, and the charm of old Europe. This deliberate contrast between warm and cold tones highlights the clash of two worlds: the free, beautiful, and orderly life outside versus the bleak, institutionalized world inside the prison.

Costume & Character Identity

Costume design in this scene plays a crucial role in visually communicating each character’s identity and emotional state:

• M. Gustave is dressed in a grey-and-white striped prison uniform, blending him into the cold and hopeless environment. His striped outfit, a classic visual marker of imprisonment, represents dullness, lifelessness, and inescapability.

• Zero, however, continues to wear his bright purple lobby boy uniform, which visually contrasts against the prison’s dull background. Purple symbolizes loyalty, elegance, and order, signifying Zero’s unwavering commitment to Gustave even in this grim setting.

• The Guard wears a light grey uniform, which reinforces his identity as a serious, duty-bound worker and further contributes to the monotonous, colorless atmosphere.

• The Lawyer is dressed in a dark suit and black-rimmed glasses, a professional and serious look that matches the solemnity of the situation.

The costumes clearly communicate identity at a glance — prisoners wear their striped uniforms, the lobby boy wears a hat marked “Lobby Boy,” and the lawyer’s attire fits his profession — creating instant visual clarity for the viewer.

Symbolism & Details

• The glass partition between Gustave and Zero visually emphasizes their different situations — one trapped inside, the other still free outside.

• The red wounds on Gustave’s face stand out sharply against the prison’s grey-blue palette, highlighting both his suffering and the violence of prison life.

• In a later part of the scene, the lawyer flips through a stack of old, yellowed photos. These props not only convey the passage of time and history but also stand out starkly against the dark, dimly lit background, drawing the audience’s attention to important narrative details.

• The candle on the table casts a faint warm glow, slightly softening the otherwise cold and heavy atmosphere, but the scene still feels serious and somber.

Overall, the combination of color, costume, and lighting crafts a visually striking contrast between the prison and the hotel. The use of greys and blues expresses despair and institutionalization, while the purple and pink of the outside world remind viewers of loyalty, romance, and the elegance that Gustave and Zero strive to preserve.

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FRAMING & SYMMETRY (Brendan, Priya & Sam)

1. The Check 19 Point

The “Check 19” sign is right in the middle of the frame, while Zero waits on the left at the visitor’s door. This makes the sign feel more powerful than the guards themselves, like the whole prison system is the true authority, watching over everyone.

2. Title Text in the Center

Even the text “1 week later, awaiting trial” sits exactly in the middle. Instead of following the usual Rule of Thirds, Anderson pulls our attention straight to the center, almost forcing us to see things in his controlled, precise way.

3. Gustave & Zero’s Balanced Table Talk

When Gustave sits down, everything around him is placed with balance. On his right: a glass of water and a guard. On Zero’s side: a Bible on his right and a glass of water on his left. It feels like both men are mirroring each other in a stage play. The water even becomes symbolic, once Gustave drinks, his blood stains the clear water, showing purity and corruption sitting side by side, yet still kept within perfect symmetry.

4. Zero & Kovacs

During Zero’s meeting with Kovacs, the mirroring continues. A candle on Kovacs’ left is matched with one on Zero’s right. When Kovacs shows the photos, they’re all neatly arranged in the center, making even tragedy look “organized.” The murdered woman’s photo is also symmetrical, her right side looks fine, while her left side is stiff and paralyzed, but the frame still places her evenly with a wine glass in hand.

5. Serge X’s Superiority

When Serge X enters, the camera gives him a low-angle shot, instantly making him look more powerful. Gustave and Zero are still shot in balanced medium close-ups, but Serge X stands out. Even so, Anderson keeps the background symmetrical, he never lets the frame lose its balance.

6. The 4:3 Ratio

This whole scene is shown in a 4:3 ratio, making the visuals feel tight and box-like. It adds to the feeling of confinement inside the prison and makes the scene look like an old photograph or storybook panel. It’s compact, controlled, and fits perfectly with the mood.

Final Verdict:

The Prison Visiting Scene is a great example of how Wes Anderson plays with symmetry and framing. Sometimes he ignores the Rule of Thirds completely by putting everything in the center, and other times he uses it with exact precision. The result is a scene that feels strict and orderly, just like the prison itself, but also beautiful and whimsical in its own way. Anderson proves that even in a dark moment, visuals can tell a story all on their own. Fun fact, this is OUR FIRST TIME, hearing about this movie, and watching a super yet detailed glimpse from the movie!

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ACTOR BLOCKING & MOVEMENT (Part 2)

Ayra's input
When discussing the actors' blocking and movement in this scene, it is an underwhelming amount to work with, unless you truly understand and grasp the plotline being told (which I do not, I haven't seen The Grand Budapest Hotel).

When the actors move, it's because they have to. They don't do anything else that adds more character to the people they potray, but I think it's fitting. Take the guard that unlocks the door for Mr. Gustave, for example. His movements are limited, and when he's done doing that one task, he snaps back into place. There is a restriction to the guard the actor plays; no swaying, no fidgeting, no nothing that could give the character more life. Yet, it's accurate to most prison guards in real life.

The limitations can be said for the main characters in this scene as well: Zero, Mr. Gustave, and deputy Kovacs.

The lobby boy, Zero, is quite stiff. His minimal movements give the impression of timidness or nervousness. He doesn't move that much; He maintains awkward eye-contact (bug-eyed boy), he nods along with whatever Mr. Gustave says, he doesn't face Mr. Gustave when he speaks directly to the imprisoned man, he averts his eyes sometimes when he talks, you could go on about the little details the actor gives to this character that he portrays. Especially with the way Zero speaks: it's quiet and raspy. He clearly doesn't hold himself high.

The most noticeable movements the actor makes in this scene are subtle head shakes, wordless nodding, eye averting, and purposeful attempts at being firm with the way his chin moves. It's a nice crack of the window into Zero's apprehensive character, and it's all I can honestly conclude.

Now, we can look at the man in jail, Mr. Gustave. At least in this scene, he moves a lot more in comparison to Zero or even Kovacs. When we first see him here, he's walking at a steady pace. There's no sense of urgency or fear, only something calm or even lazy. Even when he sits down in front of Zero, he does it like an old man (he doesn't even look that old), slow and simple. Yet, he straightened his back and dipped his head down to exaggerate his speech. He's looking at Zero with his eyes forward to give his speech a matter-of-factly tone.

Unlike Zero, his limited movements look more like control instead of shyness. He moves his head along with what he says often, a lot of shaking especially, his eye contact remains unchallenged, and he rarely moves his hands. He only does so when he's drinking water or adjusting himself to sit forward later in the scene. At one point, he's hunched forward when speaking to Zero, probably to signify the topic of their exchange because he doesn't seem interested in the guards behind him hearing them.

To be fair, Mr. Gustave is visibly shown to had been in a fight. His limited movements could simply be the result of that brawl. Either way, all the movement the actor makes as this character in this scene gives a sense of sophistication, or even arrogance. Even tiredness, if we consider those obvious injuries on him.

Moving on, we get to look at the character who's actually in a flashback, not in the scene itself: deputy Kovacs. I can only give three words to describe his character from what I can observe of his movements and behaviour: Controlled, minimal, and boring!

The only times the actor moves as the character is when he's switching through photos, documents, and speaking. Any head movement is barely noticeable, and eye contact is thoroughly maintained with Zero. He does somewhat fidget with his hands, but it looks like a means to ground or steady himself. It's fitting for this character, since I can assume he's a deputy of a detective, or is directly working with authorities. During an murder investigation, one keeps their cool I suppose. He doesn't even hold up the documents for better viewing. He keeps them against the table, as if afraid it's gonna get snatched away, or trying to keep his display of evidence subtle and discreet (it's not really discreet).

Everything about Kovacs is so kept and strict. He is sitting up straight. He is looking directly at Zero when he speaks. There is a skeptical look on his face, like he can't believe the situation he's in. No extra gestures or facial expressions, he may be taking the investigation too seriously.

✨️ Bonus analysis because I didn't know if this fell under Actors Blocking & Movement:

All 3 main characters are always placed in the middle of the camera because they're the main attraction for telling the story. None of them are placed in front or behind each other because it's supposed to highlight their importance in this scene. The director doesn't want the audience to look at anything else in that moment. It's the director's way of saying "Their exchange will be important. Watch them and don't look at anything else."

I suppose this is how the director keeps all the audience on the same page if they're all looking at the same thing.

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ACTOR BLOCKING & MOVEMENT (Part 1)

Chen Yi's input

• The scene begins at the 19th checkpoint, where there is a large prison gate. The small Zero stands there awkwardly, looking left and right, waiting for someone to open the door. Suddenly, a smaller side door opens. After the polis beeps twice, Zero realizes there is a small entrance and smoothly turns around to run through it, creating a comedic effect.

• Once inside, they are separated by bars. Zero opens his eyes wide and asks Gustave what has happened. Gustave calmly recounts the happen, while Zero listens quietly, occasionally nodding in agreement. This display of care brings them closer together. When Gustave needs to shift his emotion, he takes the water, making the transition feel less abrupt. However, should there even be water in a prison? Or could this, too, be a way of adding comedy?

• As the conversation moves forward, Gustave leans his body slightly forward, closing the distance even more. Zero begins speaking, explaining that Kovacs made him swear on the Holy Bible not to reveal anything. Zero feels that Gustave should do the same, and tries to hand him the Holy Bible, as if the bars between them did not exist.

• The film then cuts to Zero’s private conversation with Kovacs. As Kovacs explains the whole matter, the way he smoothly handles the photos in his hands shows that he is deeply familiar with the situation.

• After Zero finishes telling Gustave everything, Gustave becomes very emotional. Zero, however, remains calm and firm. He first warns Gustave that his life is in danger, and then tells him not to give up. Gustave responds with a smile, which contrasts with Zero’s initial shock and Gustave’s earlier calm narration.

• Although there is a physical barrier between them, their bond makes it feel as though the barrier doesn’t exist. The progression of barriers—from the large gate, to the small side door, to the narrow bars, and finally to the moment when their friendship makes even the last barrier (the bars) seem to disappear—reflects the growing closeness of their relationship.

Max's input

Gustave

• Sits in the middle, upright.

• Small hand gestures, leans in.

• Keeps his elegance despite prison.

Zero

• Directly across.

• Very still, just listens.

• Shows he’s the apprentice.

Guards

• In room corners.

• Stand stiff or pace.

• Represent control.

Prisoners

• In the background, symmetrical.

• Barely move.

• Make Gustave stand out.

Overall

• Little movement overall.

• Gustave’s gestures are the focus.

• Scene feels restrained but dignified.

Chermaine's input

- Zero is seen gazing unsurely and nervously at the huge check 19 point wall, and we can see how small he feels and that he is intimidated and out of place at the entrance of the jail.

- Zero is then called over by the guard to the real small entrance, and walks with his back slightly hunched, revealing his humility and youthful inexperience.

- Gustave walks towards Zero with dignity n refinement, even nodding to the guard, which poses a strong contrast to his state of being in jail clothes and being bruised and battered. In this scene through even just by seeing his body language, we can tell that he has yet to lose sight of himself in jail and possesses a certain level of status and power in the hierarchy within the jail cellmates.

- Kovacs narration and form of telling the murder case details to Zero while holding up proof and papers suggests that he is a fair deputy that wants to find the truth of this case.

- Kovacs hands does a lot of the story telling, but it’s also quite loose and relaxed, signifying he is looking at this murder case not in a sense of urgency but in a lens of fairness and justice, the reason is due to him not having a more emotional connection to Gustave.

- As opposed to Kovacs more loose hands, Zero’s tightly clasped hands while listening to Kovacs shows Zero’s sense of urgency in this matter and his care towards Gustave and dedication to proving Gustave’s innocence.

- After the reveal, Gustave’s more hunched over and has less intense eye contact with Zero, showcasing him being out of character and losing poise and control of himself for the first time due to being distraught at the news.

- Just at this moment, the roles reverse as Zero now stares at Gustave with more intensity, while Gustave cowers. This showcases that he is the one more in control of the situation right now and is more clearheaded despite Zero being the mentee.

- After hearing Zero’s encouragement, Gustave stares at Zero with warmth and has less of a piercing intense eye contact compared to the scene before, signifying how he is able to show rare vulnerability to Zero and shows us how deep their bond actually is.

- Through their eye contact we can see the trust Gustave has in Zero and Zero’s dedication towards proving Gustave’s innocence.

- In this scene, since the power exchange and role reversal, and seeing them taking turns relying on each other, we see that although Gustave is technically Zero’s mentor, both of them share the same level of respect for each other, and it is shown they both value this friendship and there’s no emotional disconnection due to difference in status.

- Jopling’s stiff walk shows us his determination and almost robot like mindset to kill.

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COSTUME

Ian, Sitham, Ganesh, Chua and Jia Xuan.

Muted, Drab Palette and Symbolism

In the prison visit scene of The Grand Budapest Hotel, the film’s visual language takes a

dramatic turn. The bright pastels and playful charm of the hotel disappear, replaced by dull

shades of gray and cream in the prisoners’ uniforms. This muted palette immediately

communicates a sense of bleakness and loss, stripping away the elegance that once defined

Gustave. The costume design here is not simply about clothing; it visually reflects his diminished

status and the stark contrast between the world of freedom and confinement.

Stripes as Farce and Symbolic

Degradation

The striped prison uniforms operate on two levels. On one hand, they recall the comic imagery

of traditional slapstick, in keeping with Wes Anderson’s playful style. On the other, they carry

heavier historical associations, uncomfortably echoing references to concentration camp

clothing. The design balances humor with unease, creating a complex visual effect. Gustave’s

uniform is deliberately ill-fitting, with short sleeves and trousers that fail to meet his ankles. For a

character so closely tied to refinement and dignity, this awkward fit emphasizes his degradation

and the stripping away of personal pride.

Tailoring vs. Disrepair

This loss is heightened when the prison uniform is compared to Gustave’s hotel attire. At the

Grand Budapest, his clothing was sharply tailored, accessorized with precision, and reflective of

his meticulous nature. In contrast, the prison uniform is shapeless and standardized, erasing

individuality. The difference is jarring, as the uniform denies Gustave the very tools style and

presentation that once reinforced his authority and identity. Through this change in tailoring,

the costume becomes a powerful metaphor for his loss of control and status.

Contrast with Hotel Uniforms

The starkest contrast emerges when the prison attire is viewed alongside the rich purples and

soft pastels of the hotel uniforms. The hotel’s palette embodies luxury, fantasy, and refinement,

while the gray of the prison evokes monotony and oppression. This deliberate juxtaposition

signals not only a change in setting but also a thematic descent. Gustave has moved from a

world of elegance and control into one defined by confinement and bleakness. The costumes

therefore reinforce the shift in tone, grounding the narrative in visual terms.

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LIGHTING

In the prison visit scene of The Grand Budapest Hotel, the lighting guides how we feel. At first, the room is flooded with cold, flat overhead light that makes everything look harsh and exposed, echoing the rigid, impersonal world of the prison. There’s no warmth or comfort, just the sense of being watched.

Then the candles come in, and the mood changes completely. The warm glow softens the faces, deep shadows create intimacy, and the darkness around them makes the moment feel private, almost secret. It’s like being told a story by firelight.

This contrast between cold glare and warm candlelight reflects the film’s bigger theme. The clash between harsh institutions and fragile human connection. The lighting doesn’t just show the scene, it makes us feel it.

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Name: Emily, Shivani, Amber, Fang Ni, Yannie

Setting and Location

Prison

Location: The scene was filmed in the Burg Kreuzenstein Castle, located in Lower Austria, near the town of Leobendorf. This castle served as the backdrop for the prison setting in the film.

Architecture: The design suggests a brutalist, early-modernist institution. It features heavy, utilitarian concrete, stark lighting, and cold metallic surfaces, evoking a sense of impersonal and oppressive state power.

Design:

- symmetry and pastel palette, softening what would typically be a grim environment.

- setting feels theatrical - walls painted in blue and grey with guards' exaggerated seriousness

- controlled, almost dollhouse-like environment contrasts with the violence and restriction it represents, creating an ironic tension between appearance and reality.

-in the cold, impersonal setting of the prison visiting room, the warmth of the human connection between Zero and M. Gustave shines even brighter. Their loyalty transcends the physical and metaphorical barriers the setting imposes.

Candlelit Room

- Underground chamber beneath the prison.

- Dim, cavernous space with stone walls.

- Lit almost entirely by candles → flickering, golden glow.

Visual & Atmosphere

- Creates secrecy and conspiracy mood.

- Shadows and low-key lighting heighten tension.

- Medieval/catacomb-like feel, contrasting with the whimsical hotel above.

Symbolism

- Represents the darker, hidden side of the story and the seriousness of the legal discussion

- Contrast to the Grand Budapest Hotel’s bright, pastel, symmetrical design.

- Shows Gustave’s displacement → from elegance to raw, primal surroundings.

Function in Narrative

- Transitional space for Gustave's escape to be plotted

- Highlight themes of confinement, danger and survival

- Highlights loyalty and resilience despite bleak conditions