Annie Atkins created the graphics Wes Anderson’s The Grand Budapest Hotel.

“Last year I spent a very snowy winter on the German-Polish border, as the lead graphic designer on Wes Anderson’s Grand Budapest Hotel. Working with Wes and his production designer Adam Stockhausen, we created all the graphic props and set-pieces for the State of Zubrowka – a fictitious European country set between the Wars. After we finished shooting I came back to Dublin and worked remotely with Wes on the poster and the titles.”


Designing for the fictional past… In its meticulous creation of the State of Zubrowka in Wes Anderson’s latest film, The Grand Budapest Hotel, graphic designer Annie Atkins was responsible for every graphic prop in the movie. All perfectly stylish, authentic and vintage fun…


To celebrate 200 followers I decided to create a masterlist that I think will be quite helpful to a lot of peopleThis is an enormous masterlist containing more than 300 faceclaims sorted by the time period in which their movie/tv show was set in. Under the cut you will find faceclaims that range from Ancient Greek Times all the way to the 1950’s! I worked really hard on this masterlist, and I hope it benefits other people who absolutely love historical roleplaying!

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SNM 150 10/08/2017 early

Macbeth: Joe Poulson
Lady Macbeth: Ida Saki
Macduff: Jeffrey Docimo
Lady Macduff: Annie Rigney 
Duncan: Phil Atkins
Malcolm: Brendan Duggan
Banquo: Erik Abbott-Main !!!
Bald Witch: Krista Morgenson
Boy Witch: Quinn Dixon
Sexy Witch: Ryan VanCompernolle
Hecate: Virginia Logan
Porter: Christopher Bannow
Agnes Naismith: Jenna Saccurato !!!
Danvers: Debra Zalkind
Speakeasy: Ernesto Breton
Fulton: Colin Buckingham
Taxi: Yiannis Logothetis
Matron: Ilana Gilovich
Nurse: Molly Griffin
Man in Bar: Casey Jordan
Woman in Bar: Camara McLaughlin
Gypsy: Stephanie Amoroso

1.5 looped Banquo, 1 loop with Agnes. So happy to have finally caught these two. 

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The Last Will & Testament of Madame D

“This was huge-over 200 different documents & you have to do 12 copies of everything, or 30 or 40 if they’re going to get covered in blood & destroyed. I did the calligraphy myself. We wouldn’t use handwriting fonts or anything like that. Everything had to be aged too. It shouldn’t look like it was made in an art department five minutes ago. We’d make a big pot of tea & dab it at the edges. There was one letter that Madame D has signed with a kiss. We had to get Tilda Swinton’s lipstick from the mak-up department so that it was exactly the right shade, but I think it was a graphics intern who did the kiss itself.”

-Annie Atkins, Graphic Designer for The Grand Budapest Hotel

The Grand Budapest Hotel (2014)

I have always been a huge fan of Wes Anderson; his dreamy palettes and unique style of narrative often leave you thinking about his films for weeks to come, but the Grand Budapest Hotel had me truly absorbed. For once I wished the quick! quick! quick! pace of the film, that I had previously loved, would slow down a smidgen to enable revelry in the details.

Indeed it is those smaller, meticulously researched details that I feel make the film stand out as a stellar piece. An interview from Creative Review with Annie Atkins, the lead graphic designer for the film, shed light on the processes and fascinating background behind each and every graphic prop.

CR: Can you talk us through the process for creating the various graphic props in the film? How closely was Wes Anderson involved in this?

Wes is completely involved in every aspect of his filmmaking, and I worked very closely with him and the production designer, Adam Stockhausen, every day. This film was particularly fun, I think, from a graphics point of view, because we were creating this entirely fictional country that Wes had written - the State of Zubrowka. It meant that every little detail had to be made from scratch - flags, banknotes, postage stamps, everything. Adam had already collected a huge amount of reference from 1930s Eastern Europe when I joined them, and I would start each graphic prop by showing Wes a real artefact from the time. I would show him redrafts of designs sometimes 20 times a day. Wes has a very graphic sensibility - that’s evident in all his films, of course.

I am already anticipating the DVD release to be able to freeze each frame and absorb even more wonderful detail.

Annie Atkins was the lead graphic designer on the latest Wes Anderson film, The Grand Budapest Hotel.

Anderson films take place in such complex and complete universes that as an audience member I usually cheerfully get on the for the ride, without questioning the details too much.

It’s cool to think that one person is responsible for anything graphic on the film. Literally anything that has text on it, Atkins has made.

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At last. I doubt I have been this eager to watch any other film. 

I still can’t find the words. In the period of 36 hours I’ve felt both immense love and disappointment, as it was equally great or safely great and lacking gravitas. I don’t know, perhaps I’ve lost my mind. The art direction on the other had my heart skipping beats, and It is safe to say I would watch this film in any language, or in absolute silence, as long as I see it in its full delicious and colorful glory. Special thanks to Annie Atkins (leading graphic designer).

p.s. Wes Anderson, I love you.

Day 12.