Wes Anderson’s experience of interviewing is as engaging as watching one of his films, marked by lively exchanges and detailed insights that resonate after the conversation ends. Recently, Anderson spoke in anticipation of his new movie, The Phoenician Scheme, at the Cannes Film Festival, where he has previously showcased three of his works: Moonrise Kingdom, The French Dispatch, and Asteroid City.
Set to debut on May 30, The Phoenician Scheme centers around a European tycoon, Zsa-Zsa Korda, portrayed by Benicio del Toro, who navigates a world of treachery and familial ties. Bound by dubious business ethics and recent assassination attempts, Korda must appoint his estranged daughter, Liesl, a nun played by Mia Threapleton, as his heir. Anderson’s film features a stellar cast, including familiar faces like Scarlett Johansson, Tom Hanks, and newcomers Michael Cera and Riz Ahmed.
Anderson reflects on the unique atmosphere of Cannes, where the sheer scale of the event adds an element of anxiety when presenting his films. Unlike festivals in other locations where he might engage in Q&As, at Cannes, the experience feels akin to being on display, emphasizing the festival’s significance in global cinema.
In his conversation, Anderson also explained his decision to arrive at the Cannes red carpet via bus, a concept that stemmed from the premiere of The French Dispatch. Initially met with skepticism, the approach became a shared journey for him and his cast, enhancing the experience of arriving at such an esteemed event.
He recalls his inspirations behind The Phoenician Scheme, highlighting not just fictional sources, but familial ties as well, particularly his wife’s father, who inspired the character of Korda. Anderson emphasized the importance of casting Benicio del Toro, stating that he was the only one he envisioned for the role. This thoughtfulness in casting extends to all his films, where the characters often come first, even if specific actors become integral during the writing process.
The family dynamic at the heart of The Phoenician Scheme is particularly poignant for Anderson, who has a daughter, and he often incorporates personal themes into his narratives, even if indirectly. He expressed a desire for audiences to perceive each film on its own merits rather than constantly comparing them to his previous works, advocating for repeated viewings to fully appreciate the dense storytelling he offers.
As Anderson prepares for the unveiling of his latest work, audiences can anticipate a unique blend of nostalgia, familial relationships, and whimsical storytelling that he is renowned for, making The Phoenician Scheme a highly anticipated film at this year’s Cannes Film Festival.