Kinoeda: Oh, absolutely—Wes Anderson turns every frame into a set‑piece, even the credits feel like a choreographed dance. Think of a UI that scrolls with that same precision, each element moving like a well‑timed musical cue. Just like in “The Grand Budapest Hotel,” every pixel has a purpose, a story, and a place. When the interface feels like a film, the user’s journey becomes a narrative, not just a series of clicks. And that’s how you get frictionless design—like a scene that never breaks the rhythm.

Kinoeda: Right, the trick is that the rhythm stays alive, no hiccups, just like a jazz solo—smooth, free, and you feel the beat inside. If the scrolling is heavy, the whole scene stalls. Think of “It’s like watching a ballerina glide, only you’re the one pulling the music.” Keep the pixels twirling, but let the user set their own tempo. That’s the sweet spot between choreography and freedom.

Exactly—like the credits in “The Grand Budapest Hotel” never stop, every frame breathes. We want the UI to glide like a dancer’s solo, no lag, just the user pulling the rhythm. If it feels like a stalled beat, the whole performance falls apart. So let the pixels keep moving, but let the user choreograph the pace, turning scrolling into a fluid, cinematic experience.