With every fresh movie premiere, the realm of Wes Anderson grows progressively more elaborate. His detailed, pastel-toned sets, eccentric – frequently morally complex – characters, and whimsical, understated humor have enabled this Texas-born artist to establish a style that stands out amongst contemporary filmmakers, one that is both imitated and lampooned extensively but never truly replicated or surpassed.
However, just as significant as the films themselves is the distinctive method he employs in creating them. Many top-tier actors who have frequently worked with Anderson praise the enjoyable atmosphere and team spirit on his film sets. This was exactly what Michael Cera, a newcomer to Anderson’s work, craved when he joined the cast for The Phoenician Scheme, the director’s latest production.
He continued, “He truly is the one,” he said. “Just moments ago, we all had just returned from Cannes, and that entire journey was, if I may say so, meticulously arranged by Wes – our accommodations, meals, travel – it was all part of his unique experience.
Furthermore, it is worth noting that he excels in that area, and there are certainly numerous other skills he possesses. However, one notable strength of his, in my opinion, is the ambiance he manages to generate during work.
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For the movie, a fresh face joining Anderson’s realm is Mia Threapleton – the child of Kate Winslet. She has worked in television shows such as The Buccaneers and an installment of the Channel 4 series I Am… where she collaborated with her mom.
Different from Threapleton, Cera hadn’t formed any specific ideas about what collaborating on a Wes Anderson production would entail, yet she soon understood that it would be an extraordinary journey.
She clarified that she had no set expectations because she’s relatively new to this field and still learning a lot. Also, she doesn’t know many people in the industry beyond those she’s collaborated with on her limited projects, and none of them have ever worked with the person in question.
She went on saying: “There isn’t a vast amount of knowledge readily available about it, as it seems to be carefully confined within this charming little circle known as Wes’s world. Upon entering, I immediately felt, after meeting Wes for the first time, ‘Wow, he must be an absolute delight to simply be near.’
After that, we took the screen test, and for the first time I encountered Benicio del Toro. Once again, my thoughts followed a familiar pattern: ‘Wow, this opportunity is incredible! I truly, deeply, desperately hope I get chosen.’ And then it came true. Arriving, settling down, and unpacking all my belongings in the small hotel room that I stayed in – that’s when the reality of it all began to set in.
Threapleton pointed out that as they shared a meal on their initial evening, she immediately felt that the whole venture would resemble an extraordinary, joyful summer camp.
She remarked, “We truly transformed into a close-knit work team.” This is because we share meals from morning to night. We don’t retreat to trailers like some might do. Instead, we spend the entire day together in one place. There are no separate trailers, no video village, and none of that kind of setup. So, everyone is immersed in it. It’s not hierarchical at all, but rather a warm, welcoming environment.
To provide a clear example of Anderson’s dislike for his actors leaving for trailers during filming, Cera recounted an incident involving portable restrooms that essentially encapsulated the director’s methodology.
On the initial day or one of the early days, one of the film crew members mentioned to Michael, “There’s a small restroom trailer, known as a honey wagon, outside if you need it [during breaks]. However, Wes apparently heard this and exclaimed in surprise, ‘Honey wagon? Why is there a honey wagon here? What do you mean there should be a honey wagon?’
He jumped right in, asking, “What’s happening here?” and then swiftly corrected things by saying, “Absolutely not, no more truck-mounted garbage containers.” So yes, he is always on top of things!
In Anderson’s growing ensemble of skilled actors, both Cera and Threapleton are fresh additions. However, among the three main characters of this movie, Benicio del Toro was previously cast in a substantial role in one section of the director’s 2021 anthology film titled “The French Dispatch.
On this occasion, his part was significantly larger; Anderson himself admitted that it was crafted explicitly for the talented Puerto Rican actor, and he asserted that the movie wouldn’t have been possible without him. Consequently, there was a certain amount of stress on del Toro as a result.
As a film enthusiast, I must confess, it was a blend of chills and thrills… yet undeniably intriguing and exhilarating, I admitted. The role I’ve been offered is nothing short of captivating – a character brimming with paradoxes, boasting an extraordinary journey. It’s a stimulus, you understand? It ignites my passion.
As an actor, roles like this are something you long for, and finding one as intriguing as this was truly thrilling. The script, with its unexpected twists, fresh ideas, and humor, added to the excitement. Not to mention the cast – it’s phenomenal! With appearances by Michael, Mia, it’s a dream come true. That aspect alone serves as a powerful motivator.
In the movie, del Toro takes on the character of Zsa-zsa Korda, a wealthy yet morally ambiguous businessman who has found himself in the crosshairs due to his questionable dealings. The story begins following another near-death encounter, with him deciding to name his nun daughter Leisl (Threapleton) as the sole inheritor of his estate. He then brings her along as they launch into a new venture – the Phoenician Project.
It can be said that Anderson drew inspiration from various sources when creating the character of Zsa-Zsa, and perhaps one of the more unexpected influences was filmmaker Francis Ford Coppola.
In his explanation, Del Toro mentioned he drew a comparison between successful figures in the business realm and those in the film industry. He stated that the concept of Francis Ford Coppola originated from a discussion between him and Wes, during which Wes suggested watching a documentary about the production of Apocalypse Now.
As I was watching, I felt like I could grasp – there were numerous challenges for Francis in producing that movie, and this mirrors the struggles faced by Zsa-Zsa in this film as he strives for redemption.
Instead of Threapleton, inspiration arose from an alternative wellspring – delving deeper into the Catholic Church, where her character Leisl has dedicated her existence.
She mentioned, “I wasn’t brought up as a Catholic.” Growing up, I wasn’t particularly knowledgeable about the Catholic religion. Interestingly enough, my first formal fitting for a costume took place in Rome.
Furthermore, it was quite captivating. To clarify, the event was incredibly detailed and thorough. There was an abundance of careful examination taking place. However, I couldn’t help but seize the opportunity to immerse myself in this significant location, as it serves as the heart of Catholicism. Consequently, I wandered about, attempting to take in as much visual information as possible, since this environment has shaped her upbringing. Therefore, this experience felt particularly meaningful.
Additionally, I had a conversation with a local church dean and engaged with individuals from the Catholic community. I attended several church services to gain a deeper understanding of their faith, aiming to make it feel authentic and familiar.
She added: “I carefully considered the intricate and nuanced nature of her solitary relationship with Zsa-zsa, as most of her past experiences prior to our meeting were spent alone.
She’s been deeply pondering these long-standing, intriguing questions since she was seven years old, as her father seemed distant and uninvolved in her life. During this period, and even more so when we arrived in Germany, I delved deeper into understanding this situation. It was a wonderful experience to explore these matters with Benicio!
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2025-05-23 17:18