Wes Anderson is headed to the Cannes Film Festival aboard a bus driven by Laurent, a tradition he’s maintained to ensure his cast arrives together. As he prepares for the premiere of his new film, The Phoenician Scheme, Anderson reflects on his unique filmmaking approach and how his experiences as a father influenced the movie’s themes. He discusses the significance of actor Benicio del Toro’s expressive face in shaping the character and shares insights on his creative process. Amid the changing film industry, he remains dedicated to his distinctive style, echoing his mantra: "What matters is the sincerity of your devotion."
CANNES, France (AP) — Wes Anderson isn’t at the wheel. Laurent is. That’s the driver responsible for bringing Anderson, along with his bus, to the Cannes Film Festival.
While traveling from his home in Paris to the South of France, Anderson explains over the phone: “I don’t operate the bus. It requires around four years of training and an EU bus driver’s license. The trick is, if you’re going to drive a bus like this, you’ve got to be able to reverse it too.”
For years, Anderson has chosen to bring his own bus to Cannes rather than using the standard festival cars, allowing his entire cast to arrive together for the premier. On Sunday, Anderson and his crew (including Benicio del Toro, Mia Threapleton, Michael Cera, Scarlett Johansson, and Bryan Cranston) will pack in for the debut of Anderson’s latest film, “The Phoenician Scheme.”
This is yet another instance of how Anderson has transformed an unusual practice into a cherished tradition.
With remarkable consistency, Anderson has been creating distinctly personal films since his 1996 debut, “Bottle Rocket.” There are variations among his work. Some are grand family narratives (“The Royal Tenenbaums”), while others are more intimate in scope (“Rushmore”). Some offer complex narratives (“Asteroid City”).
“The Phoenician Scheme,” a more streamlined story that Focus Features will release on May 30, is Anderson in full comedic mode. Featuring Del Toro as the wealthy Zsa-Zsa Korda, who decides to name his novice daughter (Threapleton) the heir to his questionably earned fortune, it’s a playful yet poignant thriller.
The momentum continues for the 56-year-old Anderson. Yet, signs of time’s passage are evident too. The Cinémathèque in Paris is hosting a retrospective on Anderson, alongside an exhibition showcasing props, costumes, and artifacts from his extensive personal collection.
Anderson, who has a 9-year-old daughter with his wife, costume designer Juman Malouf, discussed these topics and more while en route to Cannes for the unveiling of “The Phoenician Scheme,” a film that introduces another fitting motto for Wes: “What truly matters is the sincerity of your devotion.”
AP: How was it to sort through all the items you’ve preserved from your films?
ANDERSON: We’ve held onto these items for so long. The process of doing it was quite enjoyable. I’d often find myself compelled to approve various pieces. My reaction was, “We have even more stuff.” So, we kept adding to the collection. My daughter has grown up around many of these items. The puppets from “Fantastic Mr. Fox” have been in our New York apartment since we made the film, stored in boxes. Over time, she takes them out and plays with them.
AP: Jason Schwartzman once mentioned that your films aren’t for children but rather “for children when they grow up.” Do you concur?
ANDERSON: (Laughs) Jason and Bill have a knack for catching you off guard with their words. I appreciate that description. It’s quite a remarkable experience to have had Jason involved in our films for so long, given that he was just 17 when I met him. It’s both fun and strange. The decades need to pass for us to share that much time together. It’s astonishing how swiftly they go by. But there it is.
AP: The most touching aspects of “The Phoenician Scheme” are its father-daughter interactions. Were you influenced by your own experiences as a father?
ANDERSON: I didn’t set out to communicate a specific message about fatherhood. The story emerged from ideas around Benicio and his character. However, I suppose the character might not have had a daughter if I didn’t. That’s my intuition. He’s a unique type of father, certainly flawed, but there’s something relatable there. That’s probably woven into the DNA of the movie.
AP: What attracted you to Del Toro?
ANDERSON: If I were to pinpoint the initial concept of the film, it would be his face. It’s not about the scenery; it’s about Benicio in a close-up as this character. His face is incredibly expressive and captivating. He holds a special advantage. He’s mesmerizing on camera, his chemistry interacting with the film’s exposure. During “The French Dispatch,” there were electric moments on set. The energy heightened during editing. When we presented “The French Dispatch” in Cannes a few years ago, I mentioned to Benicio, “Just so you know, something else is coming.”
AP: Is starting with a close-up common for you when conceptualizing a film? I can imagine “Rushmore” beginning with Murray’s face, “The Royal Tenenbaums” with Gene Hackman’s smile, and “The Grand Budapest Hotel” featuring Ralph Fiennes as the concierge.
ANDERSON: You’ve accurately identified the films that were written with a particular actor in mind, including Jason in “Asteroid City.” Owen and I were discussing Gene Hackman by the time we had a draft. Ralph was the inspiration for the character in “Grand Budapest” even before we had written a page. Yet, I’ve never conceptualized a film around such a tight close-up. With this project, it’s somehow about the face, the eyes, and the most intimate close-up.
AP: Following Gene Hackman’s passing, Bill Murray and others have mentioned the challenges he posed while making “The Grand Budapest Hotel.”
ANDERSON: To begin with, Gene Hackman is one of the finest actors in cinema history. He certainly enjoyed the filming experience, though, as he said, “That’s when I have a good time.” However, he found the in-between moments difficult, which constitutes most of the time. He wasn’t particularly fond of the script initially. I think he struggled with the idea of embodying that character, noting, “There are many things I dislike about him, and I’m not sure I want to channel that.”
Additionally, I was quite young at the time. He was reserved but would sometimes react explosively. We didn’t have a strong rapport at first. When conflicts arose, we often engaged in candid conversations about them. I learned a great deal about him during those exchanges, and he frequently became gentler.
While I hesitate to assume we had a profound friendship—because I doubt he would ever define our relationship that way (laughs)—I truly respected him. He carried a lot of tension that he funneled into his craft, but it could sometimes feel somewhat abusive, especially towards me. (Laughs)
AP: Given his strong performance in the film, it makes me wonder if the most rewarding roles might be those that actors initially resist.
ANDERSON: That can be true sometimes. After seeing the movie, he told me, “I didn’t quite understand what we were creating.” But once he viewed the final product, it resonated with him. He liked it and appreciated his contribution. In hindsight, I wish I had taken a few days during filming to carefully edit some scenes and show him: “Here’s what you did and here’s what we’re achieving.” Perhaps that might have made our time together more harmonious.
AP: You’ve managed to keep making films for adults on a notable scale when very few others can do so. Are you content with the industry’s changes, or do they concern you?
ANDERSON: The path I’ve followed as a director may not be as accessible today. I’m uncertain whether the types of films I initially created would have been produced with the same support or audience now. Achieving the current state of filmmaking took a specific journey that I can’t quite envision today. Certain elements have shifted fundamentally. But since I’m not 25 anymore, I simply continue to pursue what I do.
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Jake Coyle has reported on the Cannes Film Festival since 2012. He previously interviewed Wes Anderson in Cannes regarding “Asteroid City” and “The French Dispatch.”
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