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Anderson’s personal approach to composition has implications in the editing room, too. “Wes likes to center-frame the actors, and he often covers dialog scenes with swish-pans rather than cutting,” says Yeoman. “There are also many long dolly shots. He designs the shots so that each part of the story is encapsulated in that one shot. When you shoot like that, there’s not really a place for a cut, though at times he can slip one in on the swish pan. As a result, he almost never cuts shots out of the movie. Everything is very carefully designed, so there really isn’t a tremendous amount of coverage. Pretty much everything that we shoot gets used.”