One of the greatest filmmakers of our time!

Wes Anderson is one of the most distinctive filmmakers working today. The worlds of his films are dollhouse-esque and marked by comedy entwined with melancholic moments. His style is often aped, but his characters' dry sincerity and heart are inimitable.

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While Anderson's ten feature films are greatly discussed and debated, he has also directed several shorts. Ranging from short films to ads, Anderson's non-feature film work still bears his attention to detail and evokes his brand of nostalgia. No matter how short the work may be it still overflows with his signature style.

This 2008 ad for Japanese conglomerate SoftBank's cell phone features Brad Pitt bumbling around a small French town, participating in several vignettes. This was one of two spots SoftBank produced featuring Pitt, the other being directed by David Fincher. While only 30 seconds in length, this ad crams Andersonian iconography from works that preceded it and also ones yet to come.

The spot is an homage to French film legend Jacques Tati's Les Vacances de Monsieur Hulot, which follows the misadventures of Monsieur Hulot on holiday. It also features one continuous shot, with the camera whipping around to reveal each successive diorama-like scene. Pitt's bright yellow outfit, the French village setting, and the pre-Moonrise Kingdom boy scout troop are all icons of Anderson's aesthetic.

Wes Anderson wrote this short promo for Moonrise Kingdom, albeit uncredited. It features Moonrise Kingdom's narrator running through a list of Suzie's books while she narrates the summary of each. Each entry features animation accompanying Suzie's narration.

While Anderson had already forayed into animation by this point via Fantastic Mr. Fox, this short previews the embrace hat would later appear in The French Dispatch. The direct, staccato narration and each book's perfectly centered cover carry the Andersonian energy in this short.

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Wes Anderson and Stella Artois collaborated in 2010 for this clever, chic commercial. It tells the story of a young bachelor bringing his date back to his automated apartment. When the curious date begins pressing buttons she is inadvertently swallowed by the couch but also dispenses a perfect glass of Stella Artois, which delights the young bachelor.

Anderson's fingerprints are all over this ad from the beginning, opening with a symmetrical, flat scene. His europhilia appears as well, with the chic apartment featuring continental stylings. The retro flair and soundtrack mark his penchant for nostalgia as well. Furthemore, the self-contained world of the apartment lends an air of a stage play that often marks his works.

This short features Moonrise Kingdom's khaki scouts and Jason Schwartzman's scout leader Cousin Ben participating in a movie night showing of the very movie they appear in. Produced for website Funny or Die, this short appears to be shot on digital as opposed to Anderson's usual film. This meta-work appropriately features Anderson indulging in his own quirks, with extreme flatness and symmetry filling the frame.

This work doesn't offer much in terms of story, but Jason Schwartzman's sharp-tongued Cousin Ben's persistent aggravation with the scouts he leads provides quick, entertaining dialogue. Anderson's proclivity to creating dollhouse worlds is on full display here, with the tight framing creating a sense of cramming into a small summer camp canvas tent.

Wes Anderson directed this three-minute ad for Prada's Candy fragrance along with frequent collaborator Roman Coppola. A tribute to French New Wave, specifically François Truffaut's Jules et Jim, the short features two friends' competing affections for Léa Seydoux's titular, irresistible Candy.

Anderson's europhilia is on full display in this crafted, utopic version of 1960s Paris. With cloudy-haired young men in sleek tailoring and a Jacques Dutronc soundtrack, this spot is a prime example of Anderson's manufactured nostalgia for a world and life he never lived. Anderson's works often feature a recurring theme of complicated romance and that is on full display here as well.

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This 2004 commercial is as much an ad for American Express as it is Anderson engaging in a little self-parody. It features Anderson acting as if he is being interviewed while walking around and addressing issues on set. This ad is yet another example of Anderson's love for French New Wave cinema, paying homage to François Truffaut's film-bout-filmmaking, La Nuit américaine.

This tongue-in-cheek production by Anderson is dense with all his typical trappings. Vibrant colors, old buildings, perfect symmetry, regular actors, and vintage design dress the scenery of Anderson's walk across his fictitious movie set. "My life is about telling stories", Anderson says to close the short, and even in something as vapid as a credit card commercial he manages to display just that.

This 2016 four minute short for H&M features Anderson's touches on the holiday season. Adrien Brody, an Anderson regular, plays a train conductor who has to deliver some bad news to his passengers on Christmas Day. But with a little thrift and a lot of heart he manages to throw together a festive trip for his train's riders.

This short is Wes Anderson at his most classic. Perfect symmetry, detailed props, snazzy costumes, and of course camera pans. Leave the commercialization of the holiday season aside for now, this short leaves audiences thirsty for Anderson's take on a feature-length holiday film.

Before there was Bottle Rocket, Wes Anderson's feature film debut, there was Bottle Rocket the short film. Written by Anderson and Owen Wilson, this is the original Wes Anderson short film. It screened at the 1994 Sundance Film Festival and features a similar plot to the 1996 version.

Being Anderson's first short film, Bottle Rocket doesn't yet feature every one of his stylistic signatures. Being shot in black and white means Anderson's use of bright colors is absent. It also lacks his iconic devotion to symmetry and flatness. However, you can see the genesis of his snappy dialogue and soundtrack selections.

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Another of Anderson's frequent collaborations with Prada, Castello Cavalcanti tells the story of an American race car driver who finds himself stranded in his ancestral village. It debuted at the 2013 Rome Film Festival, where it received critical acclaim.

Set in a small Italian village in the 1950s, this is another work where Anderson's nostalgic europhilia is on full display. It features his signature use of yellow and flat compositions featuring Schwartzman's visage dead center. The heavy use of whip pans coupled with everything mentioned leaves no doubt that this is a Wes Anderson production.

This prologue to 2007's Darjeeling Limited was entirely self-financed by Wes Anderson. Anderson and a small crew filmed it in two and a half days, with Anderson taking only a week to edit it on his own computer. It premiered along with Darjeeling Limited at the 64th Venice International Film Festival.

This short vignette features Schwartzman's Jack Whitman, a struggling novelist, lying low in his room at the eponymous hotel before being intruded upon by his former lover. The constrained setting of the hotel room complements Anderson's stage-like aesthetics. His signature color, yellow, features everywhere, from the bed to the décor to the bathrobe. This restrained exploration of complicated romance is one of Anderson's best.

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