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“Alternative” means (of one or more things) available as another possibility. Wes Anderson is an alternative director through his works that contrast greatly to the classic works of people such as Steven Spielberg and Alfred Hitchcock. However, even though Anderson’s style differs greatly from the works before his, they can also be compared to those same works if examined thoroughly. Wes Anderson’s works can be compared and contrasted to those before his own mainly through style, shot types, and character choice.

        In stylistic comparison to a movie such as "E.T. - The Extra Terrestrial", Wes Anderson mostly differs with a film like "Rushmore". Steven Spielberg goes for a far-from-earth view as far as style - whether it be a movie about a little alien from outer space or even a movie such as "Saving Private Ryan" (which would be considered realistic as it is a very real portrayal of wartimes), Spielberg wants to take you into a mindset that could never be your own, and he portrays it greatly through his stylistic glam and dialogue. On the contrary Anderson likes to use his stylistic tactics to bring his films right down to earth and have you feel as if you're watching a movie on what could be your own life. "Maybe I'm spending too much of my time starting up clubs and putting on plays. I should probably be trying harder to score chicks" (Rushmore). In his films, such as "Rushmore", Anderson choses to base the entire weight of the film on the shoulders of a young, up-and-coming chap Max Fischer who is realistically, when it comes down to it, just trying to find where his role in the world comes in to play. This is something that, whether we'd like to admit it or not, we all experience at one point or another in our lives. "The secret, I don't know... I guess you've just gotta find something you love to do and then... do it for the rest of your life. For me, it's going to Rushmore" (Rushmore). Anderson is very impressive in his ability to relay so many relatable characters through his pre-mature, yet strong-headed style, and it leaves his films in the category of "Alternative(s)", yet he can still be compared to those directors he seems so distant from. Although Anderson has all of his protagonists posed as relatable, youthful actors that leave the viewer feeling like they just got really good life advice, his films still have a sense of far-from-true feel, and this is when his style may seem a bit more similar to some of the more "classic" directors. An example of this far-from-true feel one may get from viewing an Anderson film is through his many montages of crazy mischief his characters wander into/through. This style takes these relatable characters and pushes them just far enough away for comparison while maintaining the "movie character" positions they hold such as the main protagonists of the films of the directors before him.

        In terms of shot types Anderson's films are untouchable. Unlike style and imagery Anderson's shot types are unlike any I've ever seen before. Anderson takes the word symmetrical to a completely new level; every shot more perfectly aligned and set-up than the last. You can take a movie such as "The Graduate" by Mike Nicholas and view the amazing shots that pull focus on sexualized situations, the expressions of an angsty young-adult, and the world around these phenomenon’s, however even then these shots are incapable of touching Wes Anderson's perfect, three-second shots that explain so many things about past and future events of his film at hand without even muttering a word. "Use a picture. It's worth a thousand words" (Tess Flanders). Wes Anderson takes this quote and brings it to a whole new level through a shot such as a handwritten letter centered on a desk with "clutter" scattered all around; each item just as centered as the letter and carefully placed to fit the frame of the camera perfectly. All and all, shot types between Wes Anderson and any other director are one thing one shouldn't dare compare, the contrast is too great.

        Like shot types, Anderson's character choice is unique, however in this particular case there is some comparison to be made. Anderson is a big fan of choosing kids or young adults. Another director who uses similar protagonists to head his films is Steven Spielberg. In both the movies "Rushmore" (Wes Anderson) and "Catch Me If You Can" (Steven Spielberg), the main characters chosen are both young adults that are trying to find their way in the world; the young men both have limited parental figures and if they do, the advice and guidance is lack there of. This causes the young men to fend for themselves in this crazy world around them and do things to make a living for themselves. "Dear Dad, you always told me that an honest man has nothing to fear, so I'm trying my best not to be afraid" (Catch Me If You Can). Although both Anderson and Spielberg have similar character choices through age and charisma, there is also many differences between their two character choices. In a movie like "Rushmore" Anderson wants to show a relatable young man who just wants to find where he fits in; he molds his school to be what he wants it to be for himself, and he just wants to become a significant figure to somebody, anybody if not for himself, whereas in a film such as "Catch Me If You Can" the main character is supposed to be a relatable one that is far from an achievable one as he is a fraudulent young man and steals millions of millions of dollars. "Oh, my God! I wrote a hit play" (Rushmore). Both characters can be compared through their young endeavors and seeking of acceptance and a place in the world, however the difference lies within the delivery of this.