Ritchie takes the news much worse, and attempts to commit suicide, which is discovered by Dudley. At the hospital, Dudley appears from behind the emergency room door with Ritchie’s blood on his shirt. Margot approaches him and asks “Where is he”? Dudley’s response, “Who”? The aspect of humor is a vital part of Anderson’s film style by presenting even the most intense scenes as simply moments that are so delicate, even the most bizarre and minuscule gag reforms the scene into a cartoonish nature.
While humor is efficient and quirky in his films, nearly every movie contains a scene where intense visuals are used to portray a dramatic event. The aforementioned suicide scene from Ritchie begins with him cutting his hair and shaving was filmed in one continuous shot . The scene was spliced into jump-cuts, in order to have the scene move along faster and increase the tension of the scene, complimented by Elliot Smith’s “Needle in the Hay”; a style reminiscent of the French New Wave movement. Similar jump-cuts are used during the helicopter crash in Life Aquatic. Here the crash uses these same jump cuts, with mattes of red in-between to emphasize the bloody accident and Kingsley’s death.

It's mostly shot on a 40mm Primo anamorphic lens.
low saturated and warm, but with vibrant colors as well.

the movie mostly uses subdued colors, but then places vibrant colors in tiny amounts in every scene- lots of times that color is cyan or blue or green. Sometimes the color comes from a vibrant wall.

For each of Wes Anderson's films he has hired director of photography Robert Yeoman, production designer David Wasco, costume designer Karen Patch. His signature style is a 2.35:1 aspect ratio Panavision film with a rich, vibrant color palette tweaked in post- production.